Gut Immling Festival
Il Trovatore

“Die heimlichen Stars aber an diesem Abend: Kyung Chun Kim als Graf Luna und vor allem die Mezzosopranistin Mirouslava Yordanova, die Mutter des Rebellen Manrico verkörpert. Yordanovas Stimme beherrscht ihre Stimme sicher und in allen Lagen, sie ist in dieser Runde die Sängerin mit der höchsten Authentizität. ”
( BR-Klassik)

„Gib mir fünf gute Sänger und ich mache eine gute Oper.“ Intendant Baumann zitierte dieses, vor allem bei Verdi erfolgreiche Rezept, wohlwissend, dass sein „Troubadour“-Ensemble sich hören lassen konnte: Allen voran Mirouslava Yordanova, die mit dunkel-glühender Leuchtkraft eine tiefensichere Azucena sang und das Publikum fesselte.
(Gabriele Luster /

Buxton Festival
Maria di Rohan

“As the foppish young cavalier, Armando, Mirouslava Yordanova relishes the only really tricky vocal writing, her mezzo negotiating every flutter to a nicety”
[Hilary Finch, The Times]

“There was some fine singing . . . Mirouslava Yordanova’s plucky mezzo delivers the Donizettian goods as a moustachioed Armando”
[Hugh Canning, The Sunday Times]

“Miss Yordanova portrayed the foppish Armando di Gondi with some distinction, looking particularly brave in issuing a challenge, complete with a slapped glove, on the face of the distinctly bigger intended opponent. She sang the two additions Donizetti added when he converted the role from tenor comprimario to principal travesti for Paris, with flexibility, good diction and phrasing to go along with her even lustrous tone.”
[Robert J Farr, Seen and Heard]

Buxton Festival
Luisa Miller

“Mirouslava Yordanova makes a great deal more than usual out of the role of the Duchess Federica, keen to marry Carlo but uncertain of his real feelings.”
[The Stage]

“Mirouslava Yordanova makes a thrilling widow Federica, with fine use of subtle nuance”
[The Independent]

“Mirouslava Yordanova as Federica displayed a full bodied mezzo sound that will fill Verdi’s more challenging roles admirably in a few years time.”
[ Opera Now ]

“Scoring just as highly was Miroslava Yordanova as a vocally alluring and sensationally beautiful Frederica. . . her contralto-ish mezzo realised the full potential of this role’s two brief contributions to the plot in a manner that could hardly be bettered.”
[Musicweb international]

Buxton Festival
Lucrezia Borgia

“The best voice was Bulgarian mezzo Mirouslava Yordanova in the trousers role of Orsini. The final round-table poisoning had a lurid fascination.”
[Tom Sutcliffe,]

“. . .the performance’s greatest virtue is a well-matched, well-integrated cast,. . .in the travesty role of Orsini, the Bulgarian mezzo Mirouslava Yordanova sang her rumbustious drinking song with pungent bravado.”
[Rupert Christiansen, The Daily Telegraph]

“The Buxton Festival’s flagship staging this year comes with a cast of top talent . . . There is no weak link, with the ‘trouser’ role of Orsini [Gennaro’s mate] powerfully acted and sung by Mirouslava Yordanova.”
[Robert Beale, City Life]

“The most interesting vocalizing came from Bulgarian Mirouslava Yordanova’s Orsini.”

Il Barbiere di Siviglia

“l’esuberante ‘Una voce poco fa’ di Rosina (il contralto Mirouslava Yordanova), irresistibile per virtuosismo e interpretazione.”

[Igor Vazzaz]

Boris Godunov

“…Mirouslava Yordanova…eccellente nel parte di Feodor.”
[Alessandro Mormile, L’Opéra]