"Lemercier exalts the Bohème ..."
"Above all, both by vocal technique and by dramaturgical inspiration, the soprano Natalia Lemercier, who in the role of a brilliant Musetta has shown great interpretive qualities supported by an excellent vocal technique ...
Renzo Tassi, L'eco di Bergamo (2005)
"Bravisima the Argentine soprano Natalia Lemercier as Donna Anna ..."
Johnny Tepermann (Biochile) 2012
"L'italo-argentina Natalia Lemercier was a malicious and wonderfully touching Adina ..."
Gianni Bartalini, Gazzettino (2006)
"The coloraturas of the Queen of the Night come easily like pearls from the throat of the soprano Natalia Lemercier ..."
Rockenstein Press- Wurzburg (2007)
... "The aria of the Queen of the Night, sung by the virtuous Natalia Lemercier, inhuman mother, terrible, femininity all negative and directed to the darkness, reaches inhuman and cold streaks like glass sheets ..."
Samantha Russotto - ERBA magazine (2008)
... "the song is scathing but composed, the peremptory but austere gestures, as expected of a queen ...." Musica Classica.it (2008)
"Natalia Lemercier, Donna Anna, sang with a sure voice and convincing performance, with enormous musicality in each of her arias and concerted ...".
Gilberto Ponce (Critical Visions) 2012
"Natalia Lemercier sings with pleasure in the role of Corinna ..."
Patrizia Monteverdi (Operaclick) 2009
... "Natalia Lemercier's Corinna is a hilarious hippie dedicated to meditation, and the soprano lavishes on her best" filados "with an elegant and refined song together with a really funny character ..."
William Fratti (Operalibera) 2009
"The Argentine soprano Natalia Lemercier, was a convincing Lucrezia, her tone was even and beautiful, without any difficulty for coloratures and treble, complemented with beautiful pianissimo and a great sense of acting, turned her character into something totally credible, assuming changes of character, from according to the evolution of his role ... "
Gilberto Ponce (Critical Visions) 2012
"Natalia Lemercier has a fresh youthful voice, which complies well with the required coloratures and looks better in the upper third, without hesitating before some bold highs, which she does not skimp ..."
Andrés Yaksic (El Mercurio newspaper) 2012
"The Argentine soprano Natalia Lemercier (Lucrezia) stood firm in a song of perfect style, unbeatable in accurate and crystalline highs. A tender facet of mother prevailed in her that, of course, overshadowed any hint of evil or perversity expected. gave shape to a different Lucrezia, who opened a voracious appetite to get to know her better in roles of the lyrical-light repertoire ... "
Mario Cordova (lan.com) 2012
Lemercier was interviewed by this magazine, and the expectations that we forged regarding what her performance as a singer and actress could be, sincerely exceeded our illusions. Passionate and wasteful, this Elvira moved in the sand installed by the régie of the Spanish Emilio Sagi, like a desperate leaf, pushed by the wind and the cold of life. With a powerful and sure voice, the trans-Andean soprano owns a timbre capable of solving all the complexities of bel canto spun by the genius of Bellini.
His throat did not yield to the challenges of the Sicilian and was wonderfully complemented by the baton of Prudencio and the voice of his partner Rositskiy. Lying on the pebbles, or at the door of madness, in love or in despair, without faith or full of hope, Lemercier was an exceptional, generous and moving actress.
Enrique Morales Lastra (The Counter) June 2014
"Natalia Lemercier's voice fascinates from the first sounds: a beautiful, crystalline voice, and it seems as impressive in the dramatic" fortissimo "as in the tragic" pianissimo "... she showed herself as a fresh and aristocratic Violetta ... "
"The great ovation of the night was for Natalia Lemercier's Countess, sung delicately and performed with measured and elegant mischief ..."
Luis Baietti Operaintheworld (2013)
"On stage, the presentation of the Argentine soprano Natalia Lemercier as the Countess shone in every way, with sure musicality, in such a way that her arias were approved by the public, especially the second one, Dove sono i bei momenti. .. which reached the highest ovation during the performance ... "Operadesdehoy.blogspot.com.ar (2013)
"The Contessa by Natalia Lemercier found in the soprano an ideal interpreter both vocally and scenic. She felt the role and transmitted it to the public. She displayed a first-rate voice that has an elegant line, very pleasant color and an always attractive timbre. in the charming arias with which Mozart endowed her character, which she performed with such good taste that they were rewarded with fervent applause. Another of the ovations of the night was for her the deserved result of a very high level work ... "
Christian Lauria Operaworld.es (2013)
"Very well the Elvira of the soprano Natalia Lemercier, musical and owner of a light voice with ease for coloratura and treble"
Antonio Muñoz (El Mercurio) June 2014
"The cast was led by Natalia Lemercier's Elvira, an Argentine soprano, whom we already met on the Municipal stage, singing Don Giovanni and Lucrezia Borgia, now she once again showed off her vocal and actress skills.
She has easy highs, her coloratures are level, her timbre is quite even, she also allows small variations in the second stanzas, but above all she lives and convinces, with her character, her scene of madness with the moon in her arms, It was exciting."
Gilberto Ponce Vera (Biobio Chile) June 2014
"The most enthusiastic applause at the premiere went to the Argentine soprano Natalia Lemercier, who has developed an active career in Europe and had already performed twice at the Municipal Theater in 2012, starring in the opera“ Lucrezia Borgia ”, by Donizetti, and as Doña Ana in Mozart's “Don Giovanni”, in the stellar cast of both titles. It was the first time in her career that she played the role of Elvira, and her performance was very solid and she offered a very attractive and sensitive work both vocally and acting, in which he dealt with the highest notes and agility with dedication and opportunely included some variations in certain fragments, but he also knew how to move with the sadness and madness of the character. "
Joel Poblete (Biobio Chile) June 2014