"Grazia Doronzio ha dato vita ad una Susanna piena di verve ed umanità, arguta, sinuosa, piccante e dolcissima: il tutto espresso da una vocalità piena, timbrata, morbida sia nel canto che nei recitativi. Un personaggio cosi spogliato dal carattere di subrettina e riportato nell’alveo dell’opera buffa italiana cui appartiene e dalla consistenza lirica." — Opera World

(Le Nozze di Figaro, Teatro Regio Torino)


"...Grazia Doronzio, una delle giovani cantanti più interessanti del nostro teatro; sfoggia una bella voce da soprano lirico, supportata una linea vocale molto ben gestita, e fraseggia con gusto e con un bel senso della frase pucciniana.  La sua è una Mimí giovanile e ingenua ma anche ammiccante quando necessario. Un po’ cauta, forse nell’inziale Si, mi chiamano Mimí  ma si esibisce un appassionato e malinconico Donde lieta uscí concluso da un radiosissimo si bemolle." —

(La bohème, Dutch National Opera, Amsterdam)


"Grazia Doronzio’s Adina impressed for her unforced technique, clear voice and precise diction. She showed a secure stage presence, and effectively managed the progressive changes in the mood of the protagonist, from arrogance and ruthlessness toward Nemorino, to moments of tender revelation of her feelings, by means of a strong temperament, and astutely contrasting Dulcamara and Belcore" —

(L'Elisir d'Amore, Teatro San Carlo, Napoli)


"Bei den Damen fällt allenfalls Grazia Doronzios Nannetta auf (quirlig gespielt und locker-samtig gesungen, vor allem in der Höhe)" —

(Falstaff, Frankfurt Oper)


"Without a doubt, the star of this evening is the sublime Grazia Doronzio whose Mimì leaves one shaking, reduced to tears, and covered in goose bumps. Ms Doronzio's voice brings back the glory days of sopranos like Anna Moffo, and her effortless technique demonstrates that it is always possible to revise the givens of opera, and to reveal a hitherto unexplored emotional terrain through the surprise of exquisite skill." — Aparna Halpé,

(La bohème, Canadian Opera Company, Toronto)


"Grazia Doronzio, sang with warmth, passion and clarity. She brought this challenging music to life with the gracious eloquence it requires. Hers was a grand performance." — Opera News


Sur le plan vocal, nous succombons au charme de la jeune soprano italienne Grazia Doronzio. Petite et frêle, elle possède pour le rôle un physique idéal d’oiseau fragile. Vocalement en revanche, aucune fragilité : le timbre est séduisant, la voix assurée et l’intelligence musicale exemplaire ; Mi Chiamano Mimi est un instant de grâce. — Vincent Deloge, ResMusica


"The music also wants a voice with the plush warmth and expressive intensity of Ms. Doronzio’s... Ms. Doronzio was again splendid." — The New York Times


"Doronzio is herself a fascinating discovery. Isifile's heart—rending appeal to Jason, boasting lustrous sound and impeccable diction, is a vocal highlight worth waiting for." — Chicago Tribune


"Doronzio's singing is far from monochromatic: each phrase is imbued with poignancy and sparkling, pure vowels." — Opera News


"As Liù, the slave girl, the lighter—voiced Grazia Doronzio held the musical and moral center of the show as a tender, generous presence." — Oregon Live


“In terms of sheer delight and charm, soprano Grazia Doronzio virtually owned the stage as Susanna...She's also an appealing singer with a saucy flair for Mozart's savvy Susanna.” — The Detroit News


"Mimì, played by Grazia Doronzio, is a recent graduate of the Metropolitan Opera's Lindemann Young Artist development program. She has sung the role previously in Sassari, Italy, but truly her portrayal was mature beyond her years. Doronzio's singing is far from monochromatic: each phrase is imbued with poignancy and sparkling, pure vowels." — Stephanie Adrian, Opera News


"Grazia Doronzio opened the program with Dallapiccola's stunning Tre Poemi, so wisely plucked from obscurity, with texts by James Joyce, Michelangelo Buonarroti and Manuel Machado. Doronzio's discreet stature gives no clue to the large voice lurking within, nor her impressively solid tone or her utter assurance. Her perfect decrescendo at the very end, on the word ‘morir’ (‘die’) capped a performance that probably made Dallapiccola converts on the spot. Commiato, the composer's last work, uses brief words drawn from Brunetto Latini (c. 1220—1294). It enjoyed the same scrupulous attention to words and music, the singer completely secure in pitch and phrasing." — Bruce Hodges, Musicweb


“In her Frankfurt debut as Suzel, the charming young soprano sang her way not only into Fritz’ heart but also into the heart of the entire audience as well. She personifies the ‘meadow flower’ with a believable innocence of a 16 year old, freely and without effort. This was evident through her cultivated and brilliant vocalism. She reaches all vocal height without force and with minimal Vibrato.” —


"As Suzel, Grazia Doronzio gave a convincing performance. Her soulful, velvety middle-voice and the sensitive and brilliant interpretation of Suzel's psyche, was even more pleasing than her clear high voice" — Frankfurter Allgemeine Zeitung


“And what a revelation was Grazia Doronzio’s Mimi. We were under such a spell from her first words, with her amber-hued timbre, her breath control, the fragility in her expression with yet so much strength in her voice, that it became unbearable to even think that she would have to die. She took you so deeply into her character that you feared she would never come out of her death bed.” — Concert Classic, Jean-Jacques Hoffele


“Doronzio was grounded and lyric for the duration of the role, and in glorious voice from top to bottom” - Margaret Higginson, The Sun Break


Grazia Doronzio made a remarkable Pamina in vocal terms. Her voice was the best of the whole the cast, and she sang her second act aria with gusto.(...) She is an accomplished soprano with a high quality instrument which she handles well. — José M. Irurzun, Seen and Heard International


Grazia Doronzio’s Mimi is strong in the fragility and her pianissimos are movingly intense. When she describes how she revives in the first rays of sunshine, we revive with her, and at her death, we are just as overwhelmed as Rodolfo. — Suzanne Daumann, Una voce poco fa Blog

Und was für eine Zerlina – Grazia Doronzio gibt ihr Rollendebüt. Diese international agierende, sympathische Künstlerin, die vor zwei Jahren erstmals an der Oper Frankfurt sang, ist die ideale Besetzung für diese Rolle. Herrlich ihre zarte, kecke Stimme und ihr quicklebendiges Spiel. — FeuilletonFrankfurt