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.
Aaron Keebaugh, Boston Classical Review (Loose, Wet, Perforated: Guerilla Opera, Sept. 2016)
Beowulf’s mother, played with beautiful fragility and strength by Aliana de la Guardia.
Christian Gentry, I CARE IF YOU LISTEN (Beowulf: Guerilla Opera, June 2016)
Aliana de la Guardia, the Mother, delivered a performance of quiet nuance and palpable gravity.
Steve Smith, The Boston Globe (Beowulf: Guerilla Opera, May 2016)
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.
David Wright, Boston Classical Review (Beowulf: Guerilla Opera, May 2016)
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.
Matthew Guerrieri, The Boston Globe (Troubled Water: Guerilla Opera, Sept. 2015)
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.
Aaron Keebaugh, Boston Classical Review (Troubled Water: Guerilla Opera, Sept. 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.
Matthew Guerrieri, The Boston Globe (Pedr Solis: Guerilla Opera, May 2015)
Alternately alluring and intimidating, de la Guardia was endlessly watchable…
David Wright, Boston Classical Review (Pedr Solis: Guerilla Opera, May 2015)
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.
Aaron Keebaugh, Boston Classical Review (Let’s Make a Sandwich: Guerilla Opera, September 2014)
vocally fearless, fizzing with theatrical commitment…
Matthew Guerrieri, The Boston Globe (Gallo: Guerilla Opera, May 2014)
Lloyd Schwarz, New York Arts (Gallo: Guerilla Opera, May 2014)
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.
David Wright, Boston Classical Review (No Exit: Guerilla Opera, September 2013)
Aliana de la Guardia is beguiling and enticing as Estelle.
Jonathan Simcosky, North Shore Art Throb (No Exit, September 2013)
de la Guardia dominated most her scenes…
Thomas Garvey, The Hub Review (No Exit, September 2013)
de la Guardia an energetic, dramatic clarion…
Matthew Guerrieri, New Music Box (Giver of Light: Guerilla Opera, May 2013)
fluent and powerful…
Aaron Keebaugh, New Music Box (Giver of Light: Guerilla Opera, May 2013)
…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 (DW-16 Songbook 1: The Boston COnservatory New Music Festival, December 2011)
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 (Heart of a Dog: Guerilla Opera, September 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 (“Combating opera’s death sentence with a Guerilla-style attack: Soprano Aliana de la Guardia on overcoming fears for opera’s future” April 2010)
Likable and pleasing
The Boston Globe (A Midsummer Night’s Dream, February 2006)
Scene and Heard International (La Traviata, November 2008)
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 (“Rising stars: Local talents shine bright”)
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 (The Ludovico Ensemble, From Britain)
Soprano Aliana de la Guardia has yet to disappoint.
Nine Dots Boston
A splendid rendition!
Jonathan Harvey, Composer (Ludovico Ensemble performance of Cantata X: Spirit Music)
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, Former Director of Granite State Opera
by AMANDA KEIL, New Music Box (November 10, 2010)
Combating opera’s death sentence with a Guerilla-style attack: Soprano Aliana de la Guardia on overcoming fears for opera’s future.
by EMILY ŠARAS, Operagasm (March 19, 2010)
by LARRY PHILLIPS, The Boston Musical Intelligencer (November 20, 2009)
by SARAH FAITH ALTERMAN, Stuff Boston (April 03, 2009)
by SARAH FAITH ALTERMAN, The Boston Phoenix (January 23, 2009)
Favorite Press Quotes
I want people to think about going to new music the same way that they think about going to the movies… People forget that Mozart was a premiere.
Interview by AMANDA KEIL, from “Sing a New Song: How Contemporary Vocal Music Will Save the World,” New Music Box
If opera doesn’t get us young people now, the audiences will not be there in the future.
Interview by EMILY ŠARAS, from “Combating opera’s death sentence with a Guerilla-style attack: Soprano Aliana de la Guardia on overcoming fears for opera’s future.” Operagasm
It’s something that’s necessary today — to cultivate new works and not just reinvent the standard repertoire into new productions… Mozart is always Mozart, but he’s dead now — and he’s not writing anything else.
Interview by SARAH FAITH ALTERMAN, from “Puccini goes punk” The Boston Phoenix