PRESS

CARLOS SURINACH: ACROBATS OF GOD, BMOP Sound (2023)

“‘The Owl and the Pussycat’ has a stylish female narrator [Aliana de la Guardia] who resists any temptation to guy it up and gives herself to the innocence of Lear’s poem…” (MusicWeb International)

VOICES OF EARTH AND AIR VOL V, Navona Records (2023)

“Aliana de la Guardia… lends herself with subtlety and expressive intensity.” Sonograma

FLEETING REALMS VOL 2, Navona Records (2021)

“Aliana sang like a goddess... I never imagined that my music could sound this good.”

“She is amazing. If you have never heard this voice, you need to find a recording and listen.... Thank you PARMA Recordings for connecting us for this recording. I feel incredibly blessed.” Marvin J Carlton, composer

Loose, Wet, Perforated: Guerilla Opera, Navona Records (2017)

“Aliana de la Guardia’s Loose lets loose dizzying flights of virtuosity, highlighted by screaming riffs so painful that you want them to simultaneously stop and never go away.” Gramophone

Articles:

Aliana’s Aria: Local Opera Singer Brings Vocal Magic to Haverhill (Haverhill Magazine, 2018)

Sing a New Song: How Contemporary Vocal Music Will Save the World (New Music Box, 2010)

Combating opera’s death sentence with a Guerilla-style attack: Soprano Aliana de la Guardia on overcoming fears for opera’s future. (Operagasm, 2010)

Soprano de la Guardia’s First Dirty Paloma (The Boston Musical Intelligencer, 2009)

Rising Stars: Local Talents Shine Bright (Stuff Boston, 2009)

“Puccini Goes Punk” (The Boston Phoenix, 2009)

Emergence I: Guerilla Opera (2018)

“De la Guardia sang resplendently” Boston Classical Review

Spanish Johnny: Dirty Paloma (2017)

“She sang full of wide tones and different colors, all within the same motivic gesture, fearless and edgy in her approach. More performance art than art song, Dirty Paloma’s presentation touched on sensitivity, un-comfortability, and magical realism.” Boston Musical Intelligencer

Loose, Wet, Perforated: Guerilla Opera (2016)

“De la Guardia reprised the role of the cocky Loose (she performed the character in the 2011 production) and sang with a blazing, radiant soprano that was particularly strong in her upper range. She deftly handled Vines’ serpentine vocal writing. She was an equally effective actress. Her solo scene early in the opera was sultry without being gratuitous.” Boston Classical Review

Troubled Water: Guerilla Opera (2015)

“Soprano Aliana de la Guardia approached three of Higuchi’s demimonde women with cautiously controlled singing — on the verge of more dramatic vocal sounds but rarely letting them soar — while deftly shifting between a straitjacket of stylized choreography and a more naturalistic physicality encapsulating private despair.” The Boston Globe

“De la Guardia was equally solid as a singer-actor. As Okyou, she was playful, her nimble soprano voice making Salkind-Pearl’s spare, speech-like musical lines sound rich and deep. The singer also found the palpable fear of Oriki, huddling into a corner as her misery overtakes her.” Boston Classical Review

Gallo: Guerilla Opera (2014)

“Vocally fearless, fizzing with theatrical commitment…” The Boston Globe

“Uninhibited,” New York Arts

Giver of Light: Guerilla Opera (2013)

“De la Guardia an energetic, dramatic clarion…” New Music Box

“Fluent and powerful…” New Music Box

Heart of a Dog: Guerilla Opera (2010)

“A role that demands a lot of acting… Guardia plays it up well, and rather perversely, while attached to a simple Bunraku dog puppet for most of the show.” Boston Lowbrow

Operagasm Feature (2010)

“De la Guardia’s work in new opera is proof of the genre’s viable potential as entertainment. By working directly with composers, she is a part of the creative process of inventing new styles and techniques for singing. Her contemporary music projects are able to connect young audiences with music about the cultural fascinations of our times.” Operagasm

Stuff Magazine Feature (2009)

“Soprano Aliana de la Guardia’s powerful pipes and dedication to contemporary classical music make her a refreshingly anomalous player on the Boston music scene… Move over, pop princesses — this prima donna is headed for the top.” Stuff Magazine

La Traviata: Granite State Opera (2008)

“Triumphed” Scene and Heard International

“Aliana stepped in as Flora in our production of La Traviata on one rehearsal, and was terrific! I am looking forward to working with Aliana again.” Phillip Lauriat, Director of Granite State Opera

Chrononhotonthologos: Guerilla Opera (2017)

“As Queen Fadladinida, Aliana de la Guardia found a ringing power and precision, her voice sounding brilliantly in the part’s many high notes.” Boston Classical Review

“Aliana de la Guardia, convincing as ditzy and fickle Queen Fadladinida, punctuated her vocal light lines similarly to the Queen of the Night from Die Zauberflote.” Boston Musical Intelligencer

Guerilla Opera’s 10th Anniversary Celebration (2017)

“Aliana de la Guardia, with her ripe, dexterous soprano, sang the role of Sarah Palin with nimble grace and energy, hitting the music’s wide leaps with precision.” Boston Classical Review

Beowulf: Guerilla Opera (2016)

“Aliana de la Guardia, the Mother, delivered a performance of quiet nuance and palpable gravity.” The Boston Globe

“Soprano Aliana de la Guardia never slipped into cliché or exaggeration as the mentally-fading Mother; her tentative shuffle around the stage and expressions ranging from vague worry to abject terror seemed to emanate from within.” Boston Classical Review

Beowulf’s mother, played with beautiful fragility and strength by Aliana de la Guardia” I CARE IF YOU LISTEN

Pedr Solis: Guerilla Opera (2015)

“Best of all was soprano (and Guerilla general manager) Aliana de la Guardia as Adrian, Ignis’s Machiavellian warden, a performance both bold and controlled, flamboyantly subtle.” The Boston Globe

“Alternately alluring and intimidating, de la Guardia was endlessly watchable…” Boston Classical Review

Let’s Make a Sandwich: Guerilla Opera (2014)

“In RareBit, de la Guardia found a touching humor in the senile Sally Gasco. Her crystalline vocal tone matched the frenzied energy of Hughes’ music. As Sally in Ouroboros, she caught the bare innocence and tormented struggles of a daughter longing to break free from the role she was born to play.” Boston Classical Review

No Exit: Guerilla Opera (2013)

“Vores wrote her role to be alluring, and singer Aliana de la Guardia delivered in a flexible, expressive soprano that no doubt excited the “protective” instincts of many in the audience.” Boston Classical Review

“Aliana de la Guardia is beguiling and enticing as Estelle.” North Shore Art Throb

“De la Guardia dominated most her scenes…” The Hub Review 

DW-16 Songbook 1: The Boston Conservatory New Music Festival (2011)

“…de la Guardia was stellar. Her natural sound is lovely, as clear and powerful as grain alcohol. In addition, her control of “in the margin” techniques is super—Sprechstimme, inhaled singing, dramatic recitation, extremes of range and volume, articulation of tiny shards of words, and (since this a work for amplified singer and instruments) expert microphone control. She also put some splash into the performance, providing some gentle hip sway in the Dylan and Amon Düül settings that added much-needed irony, and for a minute or so pacing the stage with her mic, freed from the score.” The Arts Fuse

From Britain: Ludovico Ensemble (2008)

“De la Guardia’s focus, control, expressiveness, not to mention beautiful singing, continues to impress, and her commitment to the music drew the audience completely in.” Nine Dots Boston

“Soprano Aliana de la Guardia has yet to disappoint.” Nine Dots Boston

“A splendid rendition!” Jonathan Harvey, Composer (Cantata X: Spirit Music)

Britten’s A Midsummer Night’s Dream (2006)

“Likable and pleasing” The Boston Globe