The Magic Flute

“Very professional: "State Opera-experienced" Judith Halász .”
(Kronen Zeitung)

“The only comfort are some good vocal performances, above all Judith Halász as Pamina with her lyrical, round voice.”
(Die Presse)

“But at least everybody sings well, whereas Judith Halász in the role of Pamina is outstanding.”
(Süddeutsche Zeitung)

“Judith Halász as Pamina impresses in vocal regards.”
(Der Standard)

Wiener Blut

“Judith Halász was a pleasantly singing dancer Cagliari (a not quite thankful part)”
(Der neue Merker)

“The soprano Judith Halász enthuses as Franziska Cagliari.”
(Der Ybbstaler)

“Judith Halász plays a sweet dancer.”
(Leopold Kogler, Niederösterreichische Nachrichten)

CD “Le nozze di Figaro”

“Judith Halasz’s Susanna is a warm and affectionate characterisation of more allure than high spirits.”
(David’s Review Corner)

“Judith Halasz’s Susanna is more insistent than cutesy; her tone is warm, oddly dusky-hued, and not even remotely soubrette-ish.”
(Robert Levine, Internet)

“A feisty Susanna from Judith Halasz (who records two extra arias as an appendix to the album).”
(Anthony Holden, The Observer)

L’infedeltà delusa

“Judith Halász proves vocal mutability in the fragile female character of Sandrina.”
(Wiener Zeitung)

“Judith Halász knows how to handle her voice and to use it well.”
(Kronen Zeitung)

La Sonnambula

“Judith Halász’s debut as Lisa in Leipzig evokes curiosity. Is it good that she doesn’t embody the part snappishly or comically, neither musically nor dramatically, but rather discreetly and tastefully.”
(Leipziger Kulturalmanach)

Moskau, Moskau

“Judith Halász proved her strong high notes.”
(Wiener Zeitung)