In the press
«In Coburg, La Bohème (…) was a great success, also with a young audience (…) The ‘gentle tragedy’ (…) is realized thanks to Lucia Tumminelli as Mimì. She is outstanding because she possesses a full, powerful tone (…) never becomes harsh, and has a sonorous voice that gives depth to the character. She is also fully convincing as an actress: joy and premonition of death, happiness and despair (…) One believes her portrayal completely; love simply happens to her (…)” »
Der Opernfreund · Frank Piontek · 2026
«Reisebilanz – Tops & Flops of the 2025/26 Season Best female singers We will mention just two (singers as) examples: Monika Jägerová in the role of Končakovna in the new Munich production of Borodin’s Prince Igor, and Lucia Tumminelli in Coburg’s production of La Bohème: both outstanding singer-actresses of considerable stature.»
Der Opernfreund · Frank Piontek · 2026
«Suor Angelica, Opéra de Paris, 15/05/25 The voices of the secondary characters are accurate, natural, and expressive. Soprano Lucia Tumminelli, as Sister Dulcina, never sounds forced, and is therefore perfectly touching.»
Operawire · Andréas Rey · 2024
«In her guest debut at the Landestheater Coburg as Mimì, Lucia Tumminelli captivated audiences with the brilliance and expressive power of her lyric soprano, combined with the naturalness of her stage performance. The production concluded with enthusiastic applause and standing ovations.»
Neue Presse Coburg · Dieter Ungelenk · 2025
«Suor Angelica, Opéra de Paris Particularly noteworthy is the psychological depth given to the convent’s secluded women, who emerge from anonymity. In this context, Lucia Tumminelli as Sister Dolcina stands out, conveying a sense of underlying, persistent tension already present throughout the first part of the convent scene.»
Connessi all’opera · Guido Giachetti · 2025
«Stabat Mater, Rossini Soprano Lucia Tumminelli and alto Diana Haller demonstrated in their expressive duet that coloratura can serve not only a decorative purpose, but also intensify dramatic expression. With a passionate, full yet always controlled voice, the soprano engaged in an alternation between pathos and lyricism in dialogue with the chorus.»
Südkurier · Michael Gottstein · 2023