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"Astonishing: for Soula Parassidis, I'd gladly go back to the theater!"

- Bild Zeitung


Soula in Newsweek

Soula in Forbes

Soula in Cointelegraph


"...also Soula Parassidis (Helmwige) "Hojotoho's" slice the air with a blade of white hot intensity" 

- Opera Magazine France

"Within just a few lines, Soula Parassidis impresses and catches our attention as Fedra"

- Wiener Zeitung

“La jeune soprano gréco-canadienne Soula Parassidis apporte l’élément sensible et dramatique à la conclusion de l’œuvre…Soula Parassidis, avec un timbre plus riche et corsé qu’à l’habitude, incarne joliment cette voix céleste qui conduit peu à peu au silence des sphères…”

- Serge Chauzy, Classic Toulouse


"There's only one true pearl here: Greek-Canadian soprano Soula Parassidis as the lovely Leila... sang sweetly and clearly."

- Rupert Christiansen, The Telegraph


"Soula Parassidis has the requisite physical glamour for the mysterious and alluring Leila, and when she opens up in her big recitative she reveals a gleaming fullness of tone." 

- Michael Church, Independent


"Star of the show is Greek-Canadian soprano Soula Parassidis as the Leila... her voice is limpid and ringing, her acting nuanced and she holds the stage with authority."

- Warwick Thompson, Metro


"As the mysterious priestess Leila, Greek-Canadian soprano Soula Parassidis was befittingly glamorous, richly swathed in silks and veil, and glossily toned of voice. Combining a gleaming timbre with lightness and flexibility, Parassidis dispatched the French coloratura effortlessly, and with technical precision and assurance. Throughout she used her voice expressively, powerfully communicating character and feeling."

- Claire Seymour, Opera Today


"..there was one striking performance which quite bowled me over...the vocal pearl in this performance was the Léïla of Soula Parassidis. She enters veiled, a beautiful vision in silks, and held the audience entranced. Her soprano is light and lyrical, yet can cut through ensemble with diamond precision when necessary. Her Act I aria with chorus ‘O Dieu Brahma’ demonstrated that Parassidis can negotiate the ornamentation and has a fast trill at her disposal... a sound entirely appropriate for this repertoire. Her aria ‘Comme autrefois dans la nuit sombre’ was most elegantly phrased, crossing tricky octave leaps well, with a clear, bell-like sonority to her soprano, yet able to build powerful weight when required in the phrase ‘o bonheur… joie inespérée’. It helps that when Léïla unveils she has stunning good looks; a slender figure, expressive eyes and a flashing smile which communicates across the auditorium. Parassidis also showed herself to be a dramatic tigress ...Parassidis made a debut which hit the audience for six."

- Mark Pullinger, Opera Britannia


Greek-Canadian soprano Soula no mere canary. She has a bright, flexible voice with an interesting element of steel to it, but also a nicely integrated upper extension and a fine trill. She brought real personality to the role...she was vivid and highly personable.

- Robert Hugill


...the one principal who really stands out is Soula Parassidis. There is an almost ‘metallic’ purity to her voice that, when combined with impeccable phrasing, makes her performance of ‘Me voilà seul’ very special. At the top of her register, in the most climactic or tender moments, she brings her rich yet perfectly measured vibrato to the fore...

- Sam Smith, MusicOMH


"Soprano Soula Parassidis dispatched her many passages of Italianate coloraturas with confidence and precision, providing some eerie moments of pure vocal beauty."

- Francesca Vella, Bachtrack


“Der Rezensent kann sich nicht entsinnen, jemals während des Schlussbeifalls eine Sängerin so ausgelassen fröhlich gesehen zu haben wie die Einspringerin, die die zweite Aufführung der Wiederaufnahme der „Così fan tutte“ am Nürnberger Staatstheater rettete. Soula Parassidis, am Nachmittag angereist aus Leipzig, singt die Fiordiligi – und wirft sich mit Elan in die Chose. Man könnte auch sagen: ein Triumph der Disziplin über die Tücken des Opernalltags – und singen kann Soula Parassidis ausgezeichnet. Mit ihrem hellen, empfindungsreich timbrierenden Sopran verleiht auch sie der lyrisch grundierten Partie der Fiordiligi jene Tiefe, die verständlich macht, wieso Mozarts und Lorenzo da Pontes Meisteroper ein Ausnahmestück des sterbenden 18. Jahrhunderts ist.…diese „Così“ wird man so schnell nicht vergessen – nicht allein deshalb, weil die Einspringerin, gelegentlich zart von ihrer Kollegin über die Bühne geführt (was dramaturgisch durchaus Sinn macht), eine empfindsame Fiordiligi gab.”​​​​

- Nordbayerischer Kurier


“Nothing but praises to sing for Soula Parassidis, a more than promising young singer. Her timber is beautiful and velvety in all tessituras, her vocal line is conducted with assurance and authority, and her coloratura is tasteful with the right amount of panache. She delivers a "Come Scoglio" full of character before burning up the stage with her tremendous acting skills in the second act. Her rendering of "Per pieta" is sincere, and full of ardent touches. Overall, this production was a great success thanks to the director, and the discovery of Soula Parassidis, a singer we will gladly hear again.”​

- Classique Info


“Vital und spielfreudig auch die Jenny von Soula Parassidis, bei der zudem das Gestaltungsvermögen hoher Stimmkraft gefiel.”

– Musik in Dresden


“Herausragend: Soula Parassidis als Jenny – für diese Frau geh ich gern noch mal wieder rein.”

– BILD Zeitung


“Soula Parassidis is heartbreakingly captivating as Alceste, A.k.a Grace Kelly.”

- Leipziger Volkszeitung

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