Opolais' stage partner was Guiseppe Filianoti, conductor - Ion Marin, LETA was informed by Latvian National Opera spokeswoman Ievina Ancena.
"Opolais lived up to expectations in "La Rondine". A lovely woman and an affectingly natural actress, she has a plush voice with a throbbing richness that lends a touch of poignancy to every phrase she sings, even when she is being coquettish. It took some courage to make her Met debut in a role she was singing for the first time," writes "The New York Times".
"A wayward bouquet conked Opolais on her noggin during the ovation Friday night in "La Rondine" - but that was the only mishap in the Latvian soprano's spectacular Met debut. Her coolly glamorous voice rose to the many challenges of the role of Magda, a Parisian courtesan who tries to live out a fantasy of finding true love in Puccini's 1917 opera," notes "The New York Post". "Opolais floated shimmering high piano notes in her pensive first act aria, the "Canzone di Doretta". Later, full-voiced B's and C's sailed into the huge Met auditorium."
"Despite the work's slightness, Opolais seemed to live within it, growing in stature as the evening went on and radiating the kind of aura - one that demands that you watch her, and sympathize with her - that defines a star. There is little room for extremity in this opera, which remains stubbornly tasteful and small in scope, but Opolais found it. Like any good operatic performance, she had become specific and mythical: the very embodiment of isolation and pain. She is a performer with a tremendous future ahead of her; New York will be lucky to have her," writes "The New York Observer".
"At just 33 years of age, Opolais is a fully mature artist who possesses a magnificent instrument and commands the stage elegantly. Her sound is dark, heavy, but potent and full of lush colors," writes "Latinospost.com".