"Could coloratura singing be any more whizzy, more fiery, or more enjoyable? Could a legato be more melting? Dogliani triumphs again on her disc of Handel arias and cantatas."
Warwick Thompson Metro | bloomberg.com
"The best singing came from Emma Dogliani in the title role, brightly sweet of tone."
Rodney Milnes The Times
"But it was Emma Dogliani who captivated the audience, her voice warming into Elena's vocal acrobatics as the evening went on."
Fiona Maddocks The Observer
"Emma Dogliani provided the most continually fluent and lyric singing of the evening, with her final aria Tanti Affett displaying powerful, sweet expression."
Kieran Falconer The Stage
"But it was Emma Dogliani's Elena that the audience warmed to, her soft-toned voice gaining in brilliance with each aria, the coloratura well within her capabilities."
“Emma Dogliani's Rosina is perfectly judged. She glides through the coloratura passage work with the ease of a fish in water (and without resorting to the painful 'yugga-yugga' technique you sometimes hear) and yet sustains long lyrical lines with careful balance and poise. The Una Voce is particularly thrilling, ending with a storm of vocal fireworks each grander than the last.”
"Emma Dogliani brought a well-projected dramatic soprano and effective stage presence to the sorceress Ersilla."
"...all the voices were impressive but Emma Dogliani in particular brings a flashing coloratura technique to her showstopping arias..."
"Emma Dogliani sang the role of Pamina with a lyrical musicianship which was a pleasure to witness."
Fiona Maddocks Opera
"...the brainchild of Emma Dogliani, who sang with effortless lyricism."