"Lukács has one of the most stupendously powerful and loud soprano voices ever encountered. Still, sheer horsepower counts for a lot in Turandot, the story of a Chinese princess who poses riddles for her suitors. If you like opera as a spectator sport (and I guiltily confess I do sometimes) then roll right up, ladies and gentlemen."
METRO, 11.07.06
"In the hugely demanding title role, the Hungarian soprano Georgina Lukács circles the stage with an attitude combining cunning with flamboyance- more than a match, one might think, for any number of tenors come to challenge her vocal and personal hegemony. Once it has settled in, her voice cuts through the climaxes like blade, though she also hints at Turandot's inner conflict and her attempts to forestall the inevitable capitulation are unfailingly determined and inventive."
THE GUARDIAN, 10.07.06
"Hungarian Soprano Georgina Lukács as Turandot, the icy princess has the hard-edged tone and mega-force volume the music demands."
SUNDAY EXPRESS, 16.07.06
"Georgina Lukács is an impressive figure on stage and her top notes are remarkable powerfull. She is also better looking than many sopranos in the part."
MUSIC, 12.07.06
"Georgina Lukács in the title role had terrifying volume and presence."
EVENING STAR, 10.07.06
"The majestic Hungarian diva in the title role; with a voice as commanding as crystal clear, Georgina Lukács rules the stage and makes this testing role her own."
THE OBSERVER, 16.07.06
"Hungarian soprano Georgina Lukács is a wonder as Lady Macbeth, the murderously ambitious wife. Verdi wrote a difficult vocal part, requiring the singer to emote deeply in her chest, while also calling for high Cs and even a D-flat.
There are not a lot of dramatic sopranos who can pull this off. Yet Lukács not only sang well, but added many layers of expression into her, um, full-blooded performance, crafting Lady Macbeth's demise-by-conscience into one of the great operatic mad scenes.
...for this Macbeth, one can argue that Lukács alone is worth the ticket."
John Terauds, Toronto Star 2005. 10.
"Hungarian soprano Georgina Lukacs as Lady Macbeth sang with a sinister darkness and chilling edge that was not just appropriate, but also absolutely essential, as she plots and prods her husband into the series of murders that bring him first to the throne of Scotland and ultimately to his own death. It's the role of a she-devil, and Lukacs sounded like one. In the Act IV sleepwalking scene, her performance was musically and dramatically so riveting that comparisons to the hypnotic fury generated by Maria Callas or Ljuba Welitsch seemed apt."
Herman Trotter, Buffalo News 2005. 10.
"Georgina LUKACS erweist sich für den Verismo als hervorragend geeignet Strahlende Höhe einen schlanken, nie verdickten Sopran bietet sie immerhin, der zudem in allen Lagen rein und schön klingt. Auch in Spiel ist sie gut."
Martin Robert BOTZ: Andrea Chénier in der Wiener Staatsoper.
Der Neue Merker 2004. 12
"Georgina Lukács as Tosca, in the first act she got an attractive sound when she lightened up the voice, and the final phrases of 'Vissi d'arte' the role's big moment, were the best thing she did all evening, moving from spot-on power to an affecting piano."
The New York Times in 2001