From Voce di Meche - December 3, 2017
"The trickiest role was that of Rosina, performed by the superb soprano Liana Guberman, whose career has taken off since our first review. The role of Rosina in Il Barbiere is generally sung by a mezzo-soprano but the low register presented no problem for Ms. Guberman who was able to portray the spunky young Rosina as well as the rejected yet dignified Countess in Nozze. It always bothered us that Rossini and Mozart chose different fachs for the same character. But it didn't faze Ms. Guberman who sounds superb in whatever she tackles."
From South Florida Classical Review by Lawrence Budmen - March 23, 2016
"Jessica Fishenfeld, Fleur Barron and Liana Guberman as Ariadne's nymphs blended to scintillating effect in trio." (Click HERE to read the entire article on South Florida Classical Review on line.)
From Palm Beach ArtsPaper, Rex Hearn - March 23, 2016
"Soprano Liana Guberman sang with a delicacy and poignancy and with a beautiful timbre as Echo." (Click HERE to read the entire article on line.)
From Palm Beach ArtsPaper, Rex Hearn - December 17, 2015
"Guberman was excellent. Her rich, round soprano reminded me of an earlier Renée Fleming who is singing this role at the Met next year." (Click HERE to read the entire article on line.)
From Palm Beach ArtsPaper by Rex Hearn - "A Splendid Afternoon of PB Opera on the Waterfront" December 17, 2014
"These two Young Artists, also new this year, turned out to be superb in a tuneful duet called "My Love." ...Guberman's voice is silk-like and rich" read more on line at the Palm Beach ArtsPaper.
From WQXR: Operavore by Fred Plotkin - "The Pleasures of Soft Singing" - February 24, 2014
"A fine example of soft singing can be heard now at Brooklyn's Loft Opera, which will give two more performances of La Bohème on February 28th and March 1st. Liana Guberman, the Mimi, has clearly taken the measure of the unusual space (high ceilings, a somewhat cavernous width) she is singing in. Her voice carries effortlessly when Puccini asks for it, but she also knows how to scale it back to an intimate but perfectly audible hush. This attention to detail makes for many moving moments of drama that are achieved in musical terms."
From stagebuddy.com - Review: La Bohème at Loft Opera - February 24, 2014
"As for Mimi, how can one sing powerfully when one is supposed to be dying of tuberculosis? Liana Guberman solves the problem by relying on her acting to portray Mimi's illness and her singing to convey her emotions. This deceptively simple solution works splendidly. Her voice is sonorous yet sad, occasionally fragile. Her arias are hauntingly beautiful, especially "O buon Marcello, aiuto!" but she really shines in her duets with Choi. In fact, it is the duets that are the heartbreaking highlights of this production."
Opera News - December 19, 2012 - Mannes Opera, New York City - Stravinsky's Mavra
"The most successful of these - Liana Guberman as Parasha, a Russian village girl - sang sweetly and curvaceously, joining her equally bright and lyrical tenor partner, Christopher Colmenero, in brief moments of rapture." - John W. Freeman
New York Times - From Stravinsky and Rossini, an Evening of Madcap Adventures - 'Mavra' & 'Scala di Seta' at Mannes Opera - December 21, 2012
"Liana Guberman brought her clear soprano to the part of Parasha and maintained a sweetness of phrasing in her opening song, tinged with Slavic folk traditions, over the rough-and-ready oompah accompaniment with which the orchestra pokes fun at her. . ." - Corinna da Fonseca-Wollheim
Oberon's Grove - The Purcell Celebration Hudson Valley Singers; Eugene Sirotkine, conductor
"Duet passages were especially well-polished, and Ms. Guberman scored with a lovely rendering of Dido's Lament - which made me wish they'd gone on with the opera's final chorus." - December 9, 2012
Opera News - New York City - Mannes Opera - May 5, 2012
”...standout performance(s) from Liana Guberman as Donna Anna...in this production, Donna Anna was, at least for a moment and in full view of the audience, a willing participant in her seduction. Guberman allowed that moment to fully humanize her, which made Donna Anna a culpable, sensual and relatable woman rather than the cipher she so often is...reactions to her tenderly persuasive "Non mi dir" made the moment a poignant scene rather than a diva showpiece...” - Joanne Sydney Lessner
Asia Times Online - Beautiful Evil: Mozart's Don Giovanni at the Mannes Opera - May 2012
”The Met, to be sure, had bigger singers, but the cast was strong overall, and several of the young singers in the Mannes production should have big careers. I've waited half a century to hear the trill and appoggiatura executed correctly in measure 110 of Donna Anna's aria "Non mi dir," as Liana Guberman did. ” - Spengler