Selected Reviews
Utilizing compostions from Derek Healey's "Five Edward Thomas Songs," Valente showcases her dexterity and range. In particular, she brings a golden luster to "Tall Nettles," a shadowy mellow work soaked in memory. Valente also performs three enchanting pieces from texts from lauded poets like James Joyce and A. E. Housman by composer Judy Strubhar Ross. "Oneness (The White Heron)" with text from Dorothy J. Ross soars with cresting melodies and grousing rumbles. A dispatch of moody musing, Valente's burnished voice wafts into the ether."
John Fleming, St. Petersburg Times review of St. Petersburg Opera production of Il Barbiere di Siviglia
Valente was hilarious in Berta's exasperated aria to marriage.
Lawrence A. Johnson, MiamiHerald.com review of Miami Lyric Opera production of Il Barbiere di Siviglia
Liana Valente made a fine cameo in the role of Berta with a fluently sung and humorous account of the maid's aria.
Daniel Fernandez, el Nuevo Herald review of Miami Lyric Opera production of Carmen, [Translated]
Special mention is made for Liana Valente and Emilia Acon,…the two friends of Carmen, Frasquita and Mercedes respectively, who were brilliant, especially in the Card Scene.
From Miami Lyric Opera President and Artistic Director, Raffaele Cardone
Thank you very much for participating in the role of Frasquita in the recent productions of Carmen presented at Colony Theater. It was a great success that you contributed importantly. It is nice to work with you and the team spirit that you bring.
Gene Jones, The State review of USC's production of Salieri's Falstaff
As the pert maidservant Betty, Liana Valente's bell-like soprano was impressive in her aria and added greatly to ensembles.
John Bridges, The Citizen-Times review of the Brevard Music Center production of Fiddler on the Roof
Liana Valente as Golde, Tevye's wife, used her rich voice effectively in the wedding scene and the duet with Tevye and created a picture of a strong, no-nonsense wife and mother.