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Musical America

“Julia Radosz sang Tormentilla with a lovely lyric soprano that gave special resonance to the girl’s reflective utterances, like the amusing song in which she fears that her poisonous qualities will preclude true love.”


Le Art-Vues

“Julia Radosz, Musetta, une bête de scène, lumineuse. ”   

“Julia Radosz, Musetta, a beast of the stage, was luminescent”


Broome Arts Mirror

“Julia Radosz  portrayed the suffering singer Antonia with a pliable and rich soprano and was convincing in presenting a tragic heroine whose own voice becomes her demise."


Forbes on Film



“As for Rose-Marie, Radosz-- fresh from her outstanding performance in Ralph Vaughn Williams' light opera “The Poisoned Kiss” for Bronx Opera-- made a strong-voiced heroine, with a capable French-Canadian accent. She and Greenwood blended beautifully in the iconic “Indian Love Call.”

Voce di Meche

"Violetta (our favorite opera heroine) was given an astonishing performance by soprano Julia Radosz whose brilliant soprano and thrilling embellishments were augmented by the most subtle and heart-rending acting. This was a Violetta any woman could understand and relate to. In Act I, her ambivalence about giving up her shallow life of pleasure for the richer but scarier life of love was made plain vocally and amplified by gesture, facial expression and body language. Her death scene moved us to the very core."




“As the governess, soprano Julia Radosz not only impressed with her warm tone and agile phrasing, but rose to the occasion in the second act, unleashing considerable vocal energy and plenty of convincing drama.”


"Young and beautiful Julia Radosz was Violetta. Both Violetta and Ms. Radosz were the star of the show. . . There was great beauty and passion in all of the role for Ms. Radosz."




“As the unfortunate Tormentilla, Julia Radosz handled her long phrases elegantly, both in the lullaby for her cobra and her plaintive lament, “O who would be unhappy me (brought up on prussic acid)”


Daily News

“Julia Radosz sailed through Sempre libera's tricky bel canto runs and leaps.”


The Austin Chronicle

“Julia Radosz, the queen’s love-torn daughter, Pamina, soars through the piece with a technically sound, rich performance.


Daily News

“These stars suffered not one whit at close range. Julia Radosz (Helena) and Adrienne Blanks (Hermia) owned their roles as the embattled sweethearts who both lose and win their loves in the course of one night.”


New York

Theatre Wire

“Gaia exerts uncanny control over Olympia, performed by Julia Radosz, whose many-hued soprano fits the mercurial character who is one moment abjectly dependent and despondent and the next full of gay flirtation.”



Daily News

“Julia Radosz and John Brandon are matched well as the star-crossed riverboat ingénue Magnolia Hawks and her maverick lover, Ravenal. They sparkle on duets such as "Why Do I Love You?" and "Make Believe," and their operatic volume cast a solid net over the 550-seat house. It's a blessing that there are no mics twisted around any ears in this cast.”



Council for

Polish Culture Newsletter

“Ms. Radosz’s Sembrich performance was conducted at the beautiful St. Stanislaus Shrine in Slavic Village, Cleveland. Her first offering was “Martern aller Arten”, Wolfgang Mozart. She made a vivid and enduring first impressionvery effervescent with a beautiful expressive face and truly powerful voice. Julia’s performance of “Robert, toi que j’aime” by G. Meyerbeer revealed her enormous and surprising power as a singer, providing an enchanting sense of immense human emotion. She has a regal princess bearing. Yet, [Julia] has the strength and grace to sing songs like “Moja Pieszczotka” (“My Darling”) and “‘Tis the Last Rose of Summer” with a coquettish charm and warm and loving delivery. The praise that had been lavished on her by reviewers following previous performances for her warm tone, agile phrasing and considerable vocal energy was fully endorsed by ACPC members at the current concert in Cleveland. The ACPC members and guests reacted to her mesmerizing performance by rising and applauding vigorously at length, showing their appreciation for Julia's outstanding performance of her entire program.”


City Metropolis

“The flirtatious Musetta (Julia Radosz) enters the scene, and sings the beloved aria "Quando men vo", designed to make Marcello jealous. Radosz’s tasteful and persuasive acting matched her illustrious and flowing voice. She sang it simply, not over the top like some sopranos, and got the point across well to Marcello, while her rich patron Alcindoro (Samuel Ramey again), bending to Musetta’s every wish, follows her orders aimlessly.”


The New York Times

“Julia Radosz was a perky, appealing Tormentilla”   

“Julia Radosz was a properly dreamy, petulant Lydia”


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