"Soprano Silvia Frigato performed “Filli, trà il gelo e ‘l foco” by Jacob Greber (1673-1731), a cantata for soprano, two recorders and basso continuo. Her voice floated into the Spanish Hall with warmth and ease. One could sense just how “at home” she must have felt being back at Innsbruck Festival. She was in her element with this Greber piece, and her voice blossomed especially while singing the aria, “Il cor che nel seno da’ vaghi tuoi rai”. Her ornamentations were insightful and aligned with the musical atmosphere of intimacy and intuitive intelligence. I really appreciated how her performance reflected Greber’s musical intentions for the voice. Not once did she make it about herself, instead, this was a moment in alignment with her surroundings, the ensemble members playing with her, and most importantly the power of Early Music’s charm — the ability to bring listeners together through a simple yet complex emotional connection.[…]Frigato’s opening recitative, “Dunque tanto s’avanza”, as Amarilli, was like a silver thread of sound. Her voice reached its apex during this moment in the program, and I could feel another breathtaking duo was on the rise. But not before Frigato’s exquisite aria, “Piacer che non si dona”. Her high notes were like gold, melting listener’s hearts in the presence of clarity and crystalline dimensions. Frigato’s next aria, “Quel nocchiero che mira le sponde”, benefitted from her vocal precision as the runs and ornamentations had the potential to make or break the whole night. Due to Frigato’s admirable vocal technique and breath support, she soared!”

(Jennifer Pyron, OperaWire)

"Silvia Frigato, Erodiade la Figlia, sa come usare le sue eccellenti doti tecniche e vocali per disegnare un personaggio che disorienta per quanto sa essere delicata in apparenza e pervicace nella crudeltà. Lavora sulle parole, porge le frasi musicali con respiro ampio e fluente, rende indimenticabile ogni tassello del suo ruolo, che sia un recitativo, un arioso o un’aria di bravura.”

(Daniela Goldoni, OperaClick)

"Silvia Frigato parvient à rendre compte de l’évolution rapide mais extraordinairement intense de la psychologie du personnage. Abordé dans un premier temps avec une certaine retenue vocale – timbre sobre, projeté sans excès ni fioritures, avec une grande attention au phrasé –, le rôle évolue rapidement vers des sommets d’expressivité. Alors qu’elle demande à Hérode la tête du Baptiste, les aigus un peu coincés du début de la partition s’élargissent, les vocalises sont menées intelligemment et les chromatismes justement soulignés pour, peu à peu, atteindre le climax de la partition.”

(Maxime de Brogniez, Forum Opéra)

(Elena Filini, Connessi all'Opera)

(Daniela Goldoni, OperaClick)

(Mirko Bartolucci, Arte e Arti)

"Momento di ineffabile bellezza è stato Il pianto della Madonna sopra il Lamento di Arianna, che ha visto protagoniste le soprano Silvia Frigato e Mariana Flores, l’una, accompagnata dalla tiorba, che spandeva melodie incredibilmente moderne, nel senso della drammaticità del disegno melodico, dal presbiterio; l’altra riecheggiante dall’altare, sostenuta dalle continuiste, in uno strepitoso disegno spaziale della testura melodica."

(Angela Alessi, Cremona Sera)