"A la cabeza del elenco internacional se sitúa la mezzosoprano rusa Victoria Yarovaya como Rosina. Posee una voz de timbre noble y bello color, de volumen generoso y tono expresivo, y se desenvuelve con soltura y comodidad, tanto en lo musical como actoral".

(José Luis Arredondo, tuiteroscultura.com)

Victoria Yarovaya was a great Rossina, voice generous, extensive logging, with beautiful coloraturas, took actoralmente with poise your Rosina, who was from the naïve to the woman firm that does not submit to your tutor, passing by the sympathetically cunning to achieve his ends.

(Gilberto Ponce Vera, www.visionescriticas.cl)

"Pleasant surprise was Victoria Yarovaya as a nice Rosina and brimming of personality, with a timbre of velvety, corporeal and homogeneous mezzo"

(Claudia Ramirez, culto.latercera.com)

"The mezzo-soprano Victoria Yarovaya was Rosina with breathtaking coloratura, voice warm and large, and elegant line of singing"

(Gilberto Ponce Vera, El Mercurio)

"Yarovaya es una mezzo ideal para Rossini: su hermosa voz, cálida y de generoso volumen, destaca especialmente en los tonos medios y graves, ha desarrollado muy bien su capacidad para el canto ágil y ligero que exigen habitualmente las partituras del autor -la coloratura- y por si fuera poco, en lo actoral es una Rosina pizpireta y adorable."

(Joel Poblete, cooperativa.cl)

"... Victoria Yarovaya ne trae invece ottimo partito con delle difficili variazioni che specie nella ripresa ampliano non poco le arcate vocali delle frasi musicali attendo molti applausi. La sua voce in tutti gli altri interventi nei numerosi ensemble è alquanto uniforme con accenti sensibili e drammatici... ".

(Fabio Tranchida, Il trillo parlante)

"... Zomira, Victoria Yarovaya, dimostra autorità e stile anche nell'impegno tutt'altro che trascurabile della sua aria “Più non sente quest'alma dolente”, tributo magari poco appariscente, ma complesso e sofisticato, al talento della prima interprete Rosamunda Pisaroni: i trilli sono adeguatamente risolti, e così il fraseggio anche in una tessitura e in un'articolazione per nulla agevoli e che impongono, talora, un incedere un po' prudente... "

(Roberta Pedrotti, L'Ape Musicale)

"Notevolissima è la Zomira di Victoria Yarovaya; è interprete di forte temperamento e cesella in maniera appropriata la sua Aria, “Più non sente quest’alma dolente”, conferendo travolgente impatto teatrale al suo personaggio, a metà strada tra la disprezzata Ottavia monteverdiana e la più vendicativa Astrifiammante mozartiana"

(Giuseppe Montemagno, Connessi all'Opera)

«The velvety voice of Victoria Yarovaya (Fenena) counterbalancing perfectly»

(Yannick Boussaert, forumopera.com)

«Victoria Yarovaya holds Fenena a dramatic voice, who also knows how to be round and soft, to the acute expressive».

(Damien Dutilleul, olyrix.com)

«The prayer of the last act confirms the qualities of the racy mezzo Victoria Yarovaya».

(Didier Van Moere, diapasonmag.fr)

"La Fenena de Victoria Yarovaya, seule mezzo de la distribution, aux graves soutenus avec des aigus aisés, donne toute la douceur requise à la cavatine comme la violence passionnée, attendue".

(Albert Dacheux, classiquenews.com)

"A la Fenena de Victoria Yarovaya, voix tendre, passionnée, aux aigus veloutés et aux graves solides, ne manque que cette dimension tragique, tendue. Cette héroïne passionnée, violente, incandescente paraît un peu trop sage par rapport à son père et à Abigaille. La douceur de la cavatine et la prière sont des réussites".

(Yvan Beuvard, forumopera.com)

"Tout d’abord, nous saluerons... la magnifique Fenena de Victoria Yarovaya, bouleversante dans l scène finale de l’opéra".

(mane Blondeau, lephiltredisolde.com)

"Victoria Yarovaya is terrific as Cenerentola, with a velvet low register and dazzling coloratura to boot. It's worth sitting through this production for her final scene alone."

(Kate Molleson, The Guardian )

"The best voice on stage, by a mile, is that of young Russian mezzo Victoria Yarovaya in the title role, and she is undoubtedly a talent to watch."

(Keith Bruce, The Herald Scotland)

"Victoria Yarovaya was quite magnificent as Angelina (La Cenerentola), soaring from sobbing sadness to the heights of coloratura contralto as the day arrived when her prince did come."

(Tom Kyle, Scottish Daily Mail)

"Even the evening's lone star, the Russian mezzo-soprano Victoria Yarovaya in the title role, is herself transformed from this point on. She fires off glowing roulades in the finale, having opened the evening a little cautiously. Yet, right from the start her velvety tone goes well with the character's melancholy, and she is undoubtedly a name to watch".

(John Allison, The Telegraph)

"First and most crucially there seems to be only one singer on stage with anything like the vocal power and technique to ping Rossini's quicksilver coloratura to the back of the dress circle - and that is the young Russian mezzo Victoria Yarovaya in the title role. After a slightly untuneful start, she gets better and better, culminating with a storming number at the final curtain. And her transformation from downtrodden Cinders to radiant princess is joyously managed."

(Richard Morrison, The Times)

"Her performance accurately tracked the development of the character she was portraying, blossoming in the finale with a knock-out account of Rossini's demanding climactic aria.">(Andrew Clark, Opera Magazine)