Opera Magazine (London)
Review of Ponchielli’s La Gioconda: “Anna Tonna’s fine Laura proved most elegant in deportment, line and authentic proto-veristic style.”
— David Shengold


Anna as Laura Adorno

The Parterre Box (New York City)
Review for Poncielli’s La Gioconda: “…But her voice! A sizable, beautiful, womanly sound, firmly supported, even throughout its range.”
— John Yohalem


Anna as Laura Adorno

El Nuevo Siglo (Colombia)
“As Adalgisa was the mezzo soprano from the United States Anna Tonna, a voice of notable volume, good projection and important agility, with good acting and most importantly, with the ability to to fill the Metropolitano Theatre, whose acoustic is impossible, and has been known to put a damper on voices such as that of Eva Marton.”
— Emilio Sanmiguel


Anna as Adalgisa

Deutsche Rossini Gesellschaft
“Like many a Rossini comic opera, its success depends to a large part on the charm of the mezzo heroine, a heroine who knows also how to sing Rossini. This the Bronx Opera had in Anna Tonna …Ms. Tonna handled the difficult fioriture with ease. Just as important, she carried off the opera’s ‘bizarre deception’ and aplomb (feigning male status, a castrato and military deserter at that!).”
— Richard Beams

New York Magazine
“Anna Tonna effectively stole the show as Ernestina, offering a prototype of the classic quick-witted Rossini heroine with a heart of gold as well as showing off her warm, secure mezzo-soprano to maximum advantage.”
— Peter G. Davis


Anna as Ernestina in Rossini’s L’Eqiuvoco Stravagante

The Daily Mail
“The scenes from Bellini’s opera were ravishingly sung and acted. In their closing duet, mezzo Anna Tonna and the beautiful soprano, Ana Camelia Stefanescu, a Modigliani portrait come to life, merged soaring intensity and caressing ‘bel canto’ in a perfection that would proudly grace any of the world’s great opera houses.”
— John Paul Keeter

The Star-Ledger
“As Rosina, Anna Tonna voiced her recitative with delightful zest and snag such central arias as “Una voce poco fa” with bright, brilliant coloratura…the mezzo-soprano’s ringing volume seemed designed to show off her suitability for a bigger house.”
— Bradley Bambarger

Classical New Jersey Society Journal
“Anna Tonna as Rosina was correctly played as a delightful spunky character, in this case with a voice which was full of vitality and technique. Her “Una voce poco fa” (what an aria to have to sing so soon after one’s entrance) was as solid as they come and thus left the audience relaxed about how the virtuoso role would be handled for the rest of the evening.”
— Paul M. Sommers


Anna as Rosina

Peoria-Times Observer
“Mezzo soprano Anna Tonna as Rosina displayed brilliant coloratura in the upper register and a clear, darkly beautiful lower register in her opening aria “Una voce poco fa”. Her singing only got stronger and more focused as the evening progressed.”
— Phil Marcus, “A Sparkling Barber of Seville from Opera Illinois”


Anna as Rosina

The Record Guide
“Mezzo Anna Tonna rose to the challenge of her Act II aria with firmness and force.”
— Shirley Fleming, “American Opera Musical Theater presents Paisiello’s ‘La Molinara’ at New York’s Town Hall”

LGNY
“Among the singers, the standout was Anna Tonna, performing a set of zarzuela arias with charm and magnetism of a born star. Her dark, compact lyric mezzo-soprano flung out the flamenco like vocal flourishes with an arresting rhythmic snap, and she had the Spanish-speaking members of the audience smiling and nodding at her crisp delivery of the comic lyrics.”
— James Jordan, “Spanish Music Concert at La Belle Epoque”