Financial Time ”The sublimely sexy Akiko Nakajima made a case for mariticide with Hanna’s entrance from The Merry Widow.” Opera (UK) “Akiko Nakajima possesses one of the most exciting coloratura soprano voices to be heard in many a year” The Times (UK) “…the burgeoning soprano superstar Akiko Nakajima made her London debut at the Wigmore Hall… Nakajima covered for Cecilia Bartoli in Rossini’s Il turco in Italia at Covent Garden — and she has a similarly seductive and way with a pianissimo…” Guardian (UK) “…A winner of the Australian Singing Competition, she first made her name at the Sydney Opera House, before heading for Vienna, where her performances in Lucia di Lammermoor at the Volksoper were greeted with glowing notices. The first half was cleverly put together to display her technique… Her voice is big with a touch of metal in it. Her high notes are thrilling. Rossini’s La Pastorella delle Alpe showed off some whiplash staccatos, a group of songs by Catalani allowed us to appreciate her sculpted legato…” Arts World (UK) “Discover the up-and-coming Japanese coloratura soprano with her latest album, Female Portraits …she’s a burgeoning star who joined the Vienna Volksoper after great success in Sydney, and who made her London debut at Wigmore Hall in February this year. Her glittering coloratura soprano and glamour have captivated audiences throughout Europe and Japan and her acclaimed opera and concert appearances have given her an international following….” Herald Tribune (Japan) “World class, a truly global diva” Andante (USA) “…and here, Volksoper has hit the jackpot. Not only does Akiko Nakajima have the instrument to sail over all the notes exactly as Verdi wrote them(La Traviata), she has the star quality to rivet attention for two solid hours…strong-headed, flippant, flirtatious and confident, Nakajima made the coloratura of her Act I aria a natural expression of frivolity, and its cadenza not decoration but inner reflection. Even more importantly, Nakajima excelled at subtle details; super titles were unnecessary as she made the meaning of each word profoundly clear.” Das Opernglas (Deutschland) “Die japanische Sopranistin Akiko Nakajima sang eine sensationelle Lucia ...Die Künstlerin begeisterte das Publikum mit perfektem Legato, glockenreinen Spitzentönen, einem großen stimmlichen Farbspektrum und genauer Ausdifferenzierung. Da faserte kein Ton aus, Nakajima sang stets auf Linie und bewältigte auch die halsbrecherischen Koloraturen in der Wahnsinnsarie mit stupender Technik und ohne Drücker. Schauspielerisch gab sie eine zerbrechlich wirkende Lucia, die nach der Intrige völlig den Verstand verliert und apathisch über die Bühne wankt.“ Opern Welt (Deutschland) “Japanerin Akiko Nakajima beeindruckte mit hochmusikalischen Phrasierungen als Sonja.“ Jyllands-Posten (Denmark) “Japanese mega talent …She revealed a voice so clear and expressive- and with all high notes crystal clear and under full control- that she quickly captured the audience." The Sunday telegraph (Australia) “Akiko Nakajima is perfect as Musetta.” Musica (Italia) “Akiko Nakajima impersona con forte presenza scenica Donna Fiorilla. E un soprano che non teme le difficolta virtuosistiche del ruolo (dispone non solo di sbalorditive coloratura, ma di un perfetto trillo), e un’ottima fraseggiatrice con perfetta padronanza dell’italiano, una vocalista tecnicamente esperta e stilisticamente sicura, un’interprete fantasiosa ed elegante: una scoperta insomma.” Il Mattino (Italia) “Successo anche per la gioane soprano giaponese Akiko Nakajima, una Musetta fasciata in minigonna e tacchi a spillo.” L’Opera (Italia) “Ben definite ed interiorizzata la Pamina di Akiko Nakajima” Wiener Zeitung (Austria) „Akiko Nakajima, Fiorilla bestecht durch Temperament, stimmliches Volumen und sichere Koloraturen.“ Kronenzeitung „Akiko Nakajima ist als Annina die führende Persönlichkeit, Blickfang, technisch sicher, souverän.“ Wiener Zeitung „Das stimmliche Ereignis des Abends ist Akiko Nakajima als Sonja. Ein reizendes Persönchen von charmanter Ausstrahlung, verfügt sie über einen ungemein und sicher geführten Sopran und lässt es auch an intensivem und natürlichem Spiel nicht fehlen.Darüber hinaus verfügt sie über eine Wortdeutlichkeit, wie man sie heute bei einer Sängerin kaum noch findet. Eine wirklich großartige Sängerin, der die Zukunft zu gehören scheint.“