But this time round the show is strongly cast. Indeed, I can’t remember for a long time hearing a Pamina as radiant, ripe and vocally expressive as that of Ekaterina Siurina. Her shaping and colouring of Ach, ich fühl’s is breathtaking; her cry of Tamino mein! heart-stopping.

Hilary Finch, The Times, 17 April 2013

The cast was uniformly excellent...Pamina is the more youthful and energetic character, leading the musical conversation to new keys. Hannah Sander, Classical Source, 17 April 2013

Just as impressive, in their totally different style, were the pairing of Charles Castronovo and Ekaterina Siurina as Tamino and Pamina. Castronovo brought a rather Italianate languid nobility to the role – an Enlightenment prince, perhaps, rather than a fairytale one – and both he and Siurina sang with immense lyricism and belief.  David Karlin, Bachtrack, 17 April 2013

There are other excellent reasons to see it, too. Russian singer Ekaterina Siurina steps up to the pinnacle of A-list Mozartian sopranos with her performance as heroine Pamina. Her gleaming sound, flawless technique and energetic acting are worth the price of a ticket alone. Warwick Thompson, The Metro, 18 April 2013

München - 'Vergesst Shakespeare' müsste man bei Vincenzo Bellinis Oper 'I Capuleti e i Montecchi' sagen, denn erst die Schlussszene zeigt das tragische Paar der verfeindeten Familien so, wie wir das kennen. Wenn jetzt im Nationaltheater als Romeo erstmals Joyce DiDonato auf Ekaterina Siurina als Julia trifft, dann erleben wir Belcanto pur: Hier der herbe, fein vibrierende Mezzo und eine Frau, die raffiniert und sehr präsent eine draufgängerische Jungmännerrolle spielt, dort der wunderbar gehaltvolle, herrlich phrasierende Sopran und das hinreißende Spiel der Russin als von Lebensangst und Depression beinahe zerfressenem Mädchen, das von seiner Liebe am Ende getötet wird. Suddeutsche.de, 20 February 2013

Ihr sopranist klar konturiert schimmert wie edles Porzellan und füllt trotz aller mädchenhaftigkeit locker das Nationaltheater. Gabriele Luster,Tageszeitung, 20 February 2013

Ekaterina Siurina was delectable in every way as Zerlina. She, too, sidestepped the modern clichés that make her character a conniving minx instead of a flawed but good-hearted country girl. Her voice only really bloomed in the highest reaches of the role, but she seemed genuinely torn in Là ci darem la mano and brought sweetness and warmth to Vedrai, carino. Marion Rosenberg, The Classical Review, 29 Nov 2012

Ekaterina Siurina has all the right vocal makeup for Gilda. Most Gildas deliver on the innocence and so does Siurina but she also delivers on the pain. Verdi gives us in music an innocent young woman to whom maturity costs agony. Every step of this painful journey has been carefully measured by Ekaterina Siurina, making her one of the most impressive Gildas on today’s scene. Jack Buckley, Seen and Heard, 18 April 2012

Ekaterina Siurina (Gilda) manages this delicate balance with some aplomb: “Caro nome” offered agility and amplitude, the cadenza technically terrific and rapturous. Edward Seckerson, The Independent, 31 March 2012

Ekaterina Siurina brings delicate focus to his daughter, Gilda, John Allison, The Telegraph, 11 Apr 2012

"...Siurina is the perfect bel canto heroine, her many arpeggios crisp and bright..."

The Washington Examiner, June 2011

"Ekaterina Siurina made a spectacular company debut as Pamina. The Siberian soprano's voice is so well suited to the heroine's music that Mozart could have written it with her in mind. Rarely will one experience such a wedding of voice to character, with Siurina's purity of tone and gleaming vocalism spoiling audience members for all future Magic Flute productions. The soprano rose to the challenge of Ach, ich fuhls in remarkable fashion, singing this torturous aria with refined expression and ravishing pianissimos, earning her an ovation that nearly stopped the show. Her charming Russian-accented English dialogue was irresistible as well..." Lawrance Johnson, The Classical Review, 17 August 2010

"Siurina's enchanting Adina is everything this pert minx should be. She's mischievous, capricious, womanly yet with a warmth and tenderheartedness just waiting to be tapped. Her voice is warm and supple, ringing with bell-like brightness in its upper range yet always mellow. Her peak is Act 2's realization of how much Nemorino has sacrificed for her, which finally melts her heart. She sings/acts this scene so exquisitely that yours will melt a little too." Houston Chronicle, 26th October 2009