REVIEWS:

"Exceptional in her singing ability, feeling for style and performing intensity was Laila Salins in the part of Arsamenes." (Neue Zuercher Zeitung, Switzerland)

"Miss Salins bewitched the audience with her sensuous, cat-like Carmen." (Literature and Art, Riga, Latvia)

"Laila Salins and Peter Rubardt [conductor] captivated the crowd with their tender performances of these melancholy songs [Mahler's Songs of a WayfarerI]."(Anthony Tommasini, The New York Times)

"Ms. Salins has a vocal presence of an exceptional kind... capable of a wide spectrum of vocal color. [Her] traversal of this work [Schoenberg's String Quartet No. 2] was simply stunning." (The Southampton Press, Southampton, New York)

"The evening included... Villa-Lobos's hauntingly beautiful "Bachianas Brasileiras" No. 5. Laila Maria Salins gave a lovely account of the vocal line... The reading was shapely and spirited..." (Allan Kozinn, The New York Times)

"Miss Salins is an engaging and communicative singer who colors words imaginatively and phrases with great sensitivity." (Peter G. Davis, The New York Times)

"The strongest performance was that of Laila Salins in the role of Arsamenes, displaying a rigorous technique and an expressive temperament." (Marinella Poli, Corriere Del Ticino, Switzerland)

"Highlights of this year's season... include Laila Salins' concert of contemporary composers in the Ave Sol Concert Hall. It is the first time I have heard such a natural, free-flowing performance of 20th century song literature." (Anita Uzulniece, Literature and Art, Riga, Latvia)

"Ms. Salins surely has one of the most remarkable vocal ranges of any singer I've heard... it is as clear and limpid as a pinot grigio at the top and as earthy as a merlot at the bottom... only a heart of stone would not be undone by these wonderfully romantic songs." (The Southampton Press, Southampton, New York)

"... notable for a rich and steady voice - Laila Salins." (Will Crutchfield, The New York Times)

"As Irene, Laila Salins takes a central part in Handel's drama of the soul in this oratorio [Teodora], fully accomplishing this task both vocally and dramatically." (Luzern Tageblatt, Switzerland)

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