Ynold PELLÉAS ET MÉLISANDE, Vlaamse Opera 2018 Sidi Larbi Cherkaoui, Marina Abramović | Alejo Peréz

Anat Edri conquered the listeners brilliantly as Little Yniold.

10/06/2018, Isabelle Trüb, “Luxemburger Wort”

...But the palm of freshness and revelation undoubtedly returns to the Israeli soprano Anat Edri, perfect incarnation of a Yniold, at once angelic and charming, curious and innocent, almost a salvation character in a world so dark and inconsolable.

08/02/2018, Benedict Hévry, “ResMusica”

Anat Edri ist ein hinreissend emphatischer Yniold

07/02/2018, Eleonore Büning, “Neue Zürcher Zeitung”

The best comes from two supporting roles: a formidable Arkel (Matthew best) and a flawless Yniold (Anat Edri, already noticed in Nannetta in the recent “Falstaff”)

05/02/2018, Nicolas Blanmont, “La Libre.be”

Servilia LA CLEMENZA DI TITO, Vlaamse Opera 2018 Michael Hampe | Stefano Montanari

Anat Edri (Servilia) überzeugt mit Ausstrahlung und sängerischem Glanz.

29/05/2018, Thomas Sander, “Sander-klassik.de”

...and that we made the discovery of a soprano that Mozart loves - and we too - with fresh and luminous voice: Anat Edri, today Servilia, Susanna, tomorrow Illia, Pamina and other Morzatian roles of the like.

06/05/2018, Christoph Rizoud, “FORUMOPERA.COM”

Servilia is sung with great tenderness and lyricism by Anat Edri

06/02/2018, Lucréce Maeckelbergh, “Klassiek Centraal”

1. Blumenmädchen PARSIFAL, Vlaamse Opera 2018 Tatjana Gürbaca | Cornelius Meister

Special acknowledgement to the women of the koor opera Vlaanderen who, led by the Flower Girls (the charming Anat Edri, who was recently Yniold in Pelleas er Melisande...)

27/03/2018, Cinzia Rota,”Classicagenda.fr”

Nannetta FALSTAFF, Vlaamse Opera 2017 Christoph Waltz | Thomas Netopil

Anat Edri has a freshness and vocal format required for the role of Nannetta, embodied with confidence and finesse

01/10/2018, Sébastien Foucart, “ConcertoNet.com”

Anat Edri ist eine bezaubernde Nannetta

15/12/2017, Hans Reul, “BRF.be”

Ihrer beider Tochter Nannetta gab Anat Edri ein silber-edles, verletzliches Timbre mit und spielte überzeugend den kindlichen Teenager.

16/12/2017, Christian Konz, “MERKER-online”

Secretly playing hide-and-seek by Fenton and Nannetta (respectively the French tenor Julien Behr and excellent Israeli soprano Anat Edri”...” Anat Edri as Nannetta is a true discovery for us...

23/12/2017, Bert Hertogs, “Concert news.be”

Nannetta, head-over-heels in love with Fenton (portrayed exceedingly well by Anat Edri and Julien Behr

07/01/2018, Tony Cooper, “Planethugill.com”

Alessandro BERENICE, G.F. Händel, Göttingen Händel Festspiele 2016 David Bates und La Nuova Musica

Anat Edri begeistert als Alessandro mit leuchtenden Höhen, die vor allem im strahlenden Schlussduett mit Asselin deutlich machen, dass Berenice und Alessandro zumindest musikalisch als Paar zusammengehören. Edris und Asselins Stimmen verschmelzen bei diesem Duett zu einer Einigkeit, die vom Publikum mit großem Applaus belohnt wird. Doch auch in ihrer großen Arie im ersten Akt, "Che sarà quando amante accarezza", wenn Alessandro von Berenices Liebe träumt, punktet Edri mit beweglichen Koloraturen in exorbitanten Höhen. Einen weiteren Höhepunkt stellt im zweiten Akt die Arie "Quell' oggetto che è caro" dar, in der Edri mit weichen Bögen erklärt, dass sie aus reiner Liebe bereit ist, auf Berenice zu verzichten, wenn diese einem anderen den Vorzug gibt.

Tomas Molke, "Online Musik Magazin"

The role of Alessandro, originated by the castrato Gizziello, was sung by Israeli Anat Edri, another clear penetrating soprano, with good agility and nice trills, especially impressive in “Quell’oggetto che è caro

Sandra Bowdler, "Opera Britannia"

Alessandro was sung by Anat Edri – bright, forthright and blending well with Mireille Asselin (Berenice). Edri impressed with the aria Quell’oggetto che è caro

Catriona Graham, "The operacritic.com"

Ms. Edri finishes the opera with a mellifluous duet with Berenice, and before then has ample opportunity to display her clarion soprano. Highlights were her joyful aria, “Quell’oggetto che è caro,” in Act I and then in Act II, her double aria: an arioso in E major “Mio bel sol,” followed, after a sudden reversal in fortune, a full e minor “cabaletta.” The scene was roundly applauded, rightly so. A nice touch in the carefully shaped arioso was Ms. Edri’s rendition of the exquisite and difficult melismas on the word “adorar”. She handled the leaps of a ninth and even an eleventh with impressive ease

Richard B. Beams, "operaconbrio.com"

Ein besonderer Genuss war der helle, geschmeidig schlanke Sopran von Anat Edri (Alessandro)

11/05/2016, Michael Schäfer, "Göttinger Tageblatt"

Giacinta L'ORONTEA, Antinio Cesti, Wigmore Hall 2016 David Bates und La Nuova Musica

Anat Edri’s strikingly cool, clean soprano sounded fresh and inspiring, and her Giacinta grew steadily in conviction and impact

Charlotte Valori, "Bachtrack"

As Giacinta, Anat Edri had a sweet and clean soprano

Sam Smith, "musicomh.com"