Performer, teacher & producer


“Tetriani is a consummate, complex actress and a sensational singer.”

Lina Tetriani’s enticing, seducible Nedda combines a full-lyric voice with sensual physicality
— Die Welt


Cio-Cio San, Madam Butterfly

Photo by David Takagi

“To borrow a phrase from William Jefferson Clinton, in Tetriani's powerful soprano voice and expressive acting we feel her pain. We also feel her hope, her optimism, her joy, and her final commitment to the Japanese credo: "Who cannot live with honor must die with honor". It is a remarkable performance by Tetriani.”
John Berger, Honolulu Pulse, Oct 12, 2014

"As Butterfly, soprano Lina Tetriani, in her Mobile Opera debut, is no weak shrinking violet. She only looks delicate and diminutive. She's a strong, determined presence who becomes increasingly tough as her tragic tale unfolds.  

Watching her descend into delusion is fascinating. Tetriani is a consummate, complex actress and a sensational singer. Her voice simply soars; particularly during the show-stopping aria "Un Bel Di Vedremo," in which she dreamily visualizes the triumphant return of Pinkerton."
Tamara Ikenberg,, March 28, 2014

Liu, Turandot

Lina Tetriani (Liù) in a Turandot staging rehearsal. Photo by Alan Alabastro

"As Liù, Lina Tetriani, from Tbilisi, Georgia, made an impressive debut with the company. She rose with ease to the high pianissimos at the end of "Signore ascolta" ("Liù non regge più! Ah, pietà") while her middle register, rich in darker hues, deepened the tragedy of her death scene in "Tu, che di gel sei cinta."
Opera News, John F. Hulcoop, August 4, 2012

"..scene-stealing beauty of Lina Tetriani's soprano"
Culture Mob, Gemma Alexander, August 8, 2012

Lera Auerbach, Last Letter

"Tetriani invested her music with intensity, rock-solid intonation and focused sound that went right to the heart."
Seen and Heard International, Harvey Steiman, March 17, 2012

"Tetriani gave a powerful account of Tsvetaeva’s words and Auerbach’s depiction of her desperate mental state.  (Tsvetaeva would later commit suicide when she could no longer contend with the difficulties of supporting herself.)  Against those words Weilerstein’s cello line was equally impassioned, as if to stress that this was the Rilke of Tsvetaeva’s imagination.  The result was a highly imaginative interpretation of an equally imaginative literary undertaking."
SF Examiner, Stephen Smoliar, March 15, 2012

Marguerite, Faust

"Tetriani is a complete Marguerite, with an amazing spectrum of dramatic moods, from her irrepressible take on the "Jewel" aria in the second act to her haunting struggle with the forces of Satan in Act III. Her voice is strong and melodic and she sings this, her premiere in the role, with skillful turns of sweetness and pain."
Naples News, Harriet Howard Heithaus, February 26, 2012

Magda Sorel, The Consul

“It’s moment that happens only in opera, really, and helps to define the difference between sung and spoken drama. The singer, having poured out her heart and soul, having given all she has to give, arrives breathless at the end of a particularly poignant aria-in this case, an aria intended not to amuse, not to delight, but to transfigure the listener with, well, nothing less than the truth of a desperate woman’s existence. The swell of the orchestra subsides. There is a profound silence. You could hear a pin drop. Then a smattering of applause-and the audience suddenly lets loose with a l-o-n-g roar that sounds like it might blow off the roof of McCarter Theater.

That’s what happened when Lina Tetriani-mark well that name-concluded “To This We’ve Come” , the big aria Gian Carlo Menotti wrote for Magda Sorel, the pathetic heroine of his dark, troubling and still shockingly relevant hit of 1950, The Consul.

…Lina Tetriani, who hails from Georgia the nation…., sounds like she has all the makings of a major international career. Have a mentioned she’s a powerful actress and a beautiful woman, besides?”, Michael Redmond, TIMEOFF editor, July 20, 2011

“Lina Tetriani was powerful as the doomed heroine, Magda Sorel. Her soprano voice was even darker and richer than that of Patricia Neway who originated the role and sang it on television and a recording. The youthful-looking Tetriani has a darker, well-focused voice that also soars on the highest notes…..,and Tetriani earned an ovation with her big solo, "To this we've come."
The Opera Critic, Steve Cohen, July 2011

"The second and final performance of the run on Sunday afternoon featured a standout performance by soprano Lina Tetriani as the doomed heroine, Magda Sorel, Tetriani, a diminutive woman with a sizable voice, enacted Magda's ordeal with grim determination and deservedly won a huge ovation for her big aria, "To this we've come," a heartfelt cry against inhumanity. "
By Mike Silverman For The Associated Press, July 25, 2011 (AP)

“But the audience was on its feet for a roaring and richly deserved standing ovation. As Magda, soprano Lina Tetriani gave a devastating performance. She immersed herself fully in the opera’s tragedy and was simply riveting. The edge, power and dark timbre of her voice contrasted her slight stature, seeming to reflect her character’s strong will despite her vulnerability”
The Star-Ledger, Ronni Reich, July 18, 2011

“The audience, on Saturday, July 16, interrupted the performance by an extended ovation for Tetriani’s impassioned “Magda”; the applause could not be stifled”
U.S.1, Elaine Strauss, July 20, 2011

“Lina Tetriani, a titanium-voiced, Georgian-born soprano”
WQXR, Olivia Giovetti, July 22, 2011

Lora, Die Feen

“Lora, Arindal's sister, sings a handsome Italianate double aria concluding with an ecstatic cabaletta.....Lina Tetriani’s Lora is strongly sung.“ 
New York Times, George Loomis, April 1, 2009

“None of the Chatelet’s young cast was less than fully adequate, though only the American-Georgian soprano Lina Tetriani -as Lora, Arindal’s sister-struck me as someone whom I want and expect to hear again in fairly important roles.”
Opera Magazine, Michael Tanner, 2009

“The remainder of the large cast was adequate but often challenged by the vocal writing, with the exception of Lina Tetriani’s intense, bright sounding Lora.”
Opera News, Stephen J. Mudge, June 2009

“Plus de satisfactions chez les très nombreux comparses, avec les promesses de la soprano Lina Tetriani”
Le Figaro, Christian Merlin, March 30, 2009

Norma, Norma

“The American-Georgian soprano Lina Tetriani possesses a dark timbre with warm colorings that perfectly fit Norma”
Magazine Opera, Alfred Caron, January 18, 2010

“In title role, one of the most difficult roles of the soprano repertoire, that assured the glory of Maria Callas, the Georgian soprano Lina Tetriani shows beautiful vocal qualities and a real talent of tragic actor. She passes with success the test of the piece of bravery of Norma, "Casta diva" (chaste goddess), incantation to the moon and peaceful plea and gives the necessary passion to the duets with Pollione, the Roman proconsul (Nikolai Schukoff) and young Gallic virgin Adalgisa,la (Paulina Pfeiffer).”
Jean-Louis Lemarchand, La Tribune, Jan 20, 2010

“L'engagement des jeunes interprètes dont au premier chef la prise de rôle de la soprano américano géorgienne Lina Tetriani, (dans le rôle-titre) offre à cette Norma, son lustre originel, à la fois héroïque et tragique, intimiste et grandiose, tout à la fois dramatique, si humain et donc bouleversant.”
Carter Chris Humphray, 21 janvier 2010

"It was an impressive evening for the voice. The young American soprano, Lina Tetriani, has all the notes - already most of the way there in the role. But most great Norma's have waited toward the end of their careers to tackle the role. I would, nevertheless, recommend keeping track of this talented singer. "
By Frank Cadenhead, 09 Jan 2010 Playbill Arts

“Brava for the female singers, headed by a wonderful Lina Tetriani, who was perfect and wonderful in the title role. She is following close in the footsteps of former world famous singers as Norma, Montserrat Caballet and Maria Callas. When shall we hear her at Opera National de Paris, Covent Garden and The Metropolitan Opera?”
Henning Hoholt, Kulturkompasset, Jan 20, 2010

Magda, La Rondine

“The discovery of the Sarasota season was soprano Lina Tetriani…Tetriani, from Tbilisi, Georgia, is ravishing in Magda's first-act aria, Chi il bel sogno, in which she pines for madly passionate romance. There is an appealing darkness to her voice that lends complexity to even the most sentimental musings on love, youth and happiness. With jet black hair and a bright smile, she is the very picture of a rich man's ornament”
John Fleming, Opera News, July, 2008

"Georgian soprano Lina Tetriani, who headed the cast as Magda, was perhaps the top star of the entire 2007/08 Season. A young woman of gentle beauty, she was equally convincing as the successful courtesan and as a woman experiencing great love for the first time. As both she was painfully vulnerable, and her delivery of the first-act confessional self-confrontation competed favorably with recordings by established divas.”
Opera Today, Wes Blomster, April 23, 2008.

“The Georgia soprano Lina Tetriani-a find as Magda-sang with a rich, resonant, characteristically Slavic voice. She was melting in those lovely descending intervals at the climax of her familiar aria and soared vocally above the other participants in the climactic Act 2 quartet, the opera’s musical high point.”
George Loomis, Financial Times, March 12, 2008

Magda Sorel, The Consul

“.....the singing of the cast is thrilling. Lina Tetriani was tiny, yet a powerhouse as Magda [Sorel, The Consul], ready to move Heaven and earth to save her family,…The scene in which she finally erupts in frustration and anger absolutely stopped the show, and left the audience exhausted from their involvement in her performance.”
Robert W. Plyler, Jamestown Post Journal, Friday, July 24, 2009

“ sensational full-out scene and aria for the heroine, Magda, which won extended, deserved applause for lovely, sympathetically vulnerable Georgian soprano Lina Tetriani...Her strong lyric soprano, darkly shaded,.....Tetriani is an excellent artist, providing a winning dramatic fulcrum.”
David Shengold

Kupava, Snowmaiden

“…. but it was Tetriani's feisty Kupava who melted my heart.”
Anna Picard, The Independent, Oct 26, 2008

“With singers mostly from eastern Europe and mostly good-with outstanding singing from Lina Tetriani as tarty rival Kupava”
Michael White, Catholic Herald, Oct 24, 2008

Berg, Seven Early Songs

"Georgian singer Lina Tetriani, who was only engaged a few weeks ago, not only allowed the 'revisited' concert to go forward, but did so in a splendid manner. A striking woman with a powerful instrument, Tetriani dug deeply into Alban Berg's Seven Early Songs. These post-romantic utterances, clearly influenced by the songs of Mahler, are difficult, harmonically complex pieces. By performing them from memory and clearly understanding the nuances of the German text, Tetriani made an instant impact... After intermission, the singer shifted gears completely to present the three celebrated soprano arias from Mozart's 'The Marriage of Figaro,' which she again accomplished with bravura."
Daily Camera, June 26, 2006

"Adding greatly to the pleasures of opening night was soprano Lina Tetriani. The Russian singer brought a glowing sound and dramatic presence to the Berg songs and to a trio of heavenly Mozart arias.

The Mozart selections were from Marriage of Figaro, and one would be hard-pressed to find anything to complain about in Tetriani's reading. Deh vieni, Porgi amor and Dove sono emerged with impeccable taste- beautifully phrased and delivered with a clear textual understanding."
Rocky Mountain News, June 26, 2006

Antonia, Les Contes d’Hoffmann

”Among the women, Russian Lina Tetriani as Antonia proved the surprise discovery of the evening. Still a student at Philadelphia’s Curtis Institute, she displayed an easily produced lyric soprano of considerable size and melting beauty, glimmering in captivating youthful radiance.”
Opera News (online), November 2000

As the new, young debutant, Lina Tetriani, who hails from Georgia, is an ideal Antonia. A soft timbre soprano of floating lightness, who expressively fit into the curvatures of her melodic lines:...”
Opernwelt, July 2000

…”soulful and expressive is the voice of Lina Tetriani’s Antonia (this is where a big career will take its start).”
Stuttgarter Nachrichten, July 2000

Nedda, I Pagliacci

“Lina Tetriani’s enticing, seducible Nedda combines a full-lyric voice with sensual physicality,…”
Die Welt, December 2002

“The despair of Nedda (the magnificent Lina Tetriani)…”
Kölnische Runschau, October 2002

“Lina Tetriani’s soprano…- altogether glorious -…”
Kölner Stadt-Anzeiger, October 2002


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