Pohjalaisia (The Ostrobothnians), Finish National Opera, 2024
Amidst all the threats and images of danger, the budding love between Liisa and Jussi emerged powerfully in this production. As if the story had moved to another planet, where happiness is possible.
The ethereal nature of Johanna Nylund's dreamy young girl ignited Ville Rusanen's emotions. Nylund was a theatrically modest young Liisa and her voice was tuned to a suitably emotional expression. And Rusanen's Jussi matched Nylund. They were a balanced couple that vibrated with a sense of youth. In the midst of all the gloom, this couple spoke with their humanity and authenticity. And everything was crowned by the sonorous nuance of singing.
- Ilmo Pokkinen, Savon Sanomat
The opening night's cast of artists handled Madetoja's difficulties brilliantly. The opera's main couple, Jussi and Liisa, were excellently interpreted by Ville Rusanen and Johanna Nylund.
- Tarkkaamo blog
Don Giovanni, Savonlina Opera Festival, 2024
The Donna Anna of the Finnish soprano Johanna Nylund was vocally outstanding with strong, splendidly harmonious musicality, which she expressed with almost incomparable quality in her demanding solo aria Non mi dir.
- Dr. Charles E. Ritterband
Nabucco, Savonlina Opera Festival, 2024
Special mention is given to the young Johanna Nylund for how she "expands" the character of Anna.
- Paolo Patrizi
The Queen Elisabeth Competition, 2023
Two heroines masked fragile for Johanna Nylund (31). Anne Trulove in The Rake’s Progress begins her air in hesitation, but soon develops a discreet but intensely lived emotion, ending with a welcome assertiveness. Liù in Puccini's Turandot also remains in the background at the beginning of her aria, but then rises with beautiful fervor. A beautiful performance.
- Serge Martin, Le Soir, 22.05.2023
Carmina Burana, Helsinki, 2023
In the lyric soprano part Johanna Nylund did a fine job – the voice sounded great all around and the peacefulness offered, at least for me, some of the evenings most touching moments, such as the beautifully interpreted hitballad In trutina.
- Tove Djupsjöbacka
Cenerentola (Clorinda), Opera Hedeland, 2023
The two self-absorbed stepsisters coquettishly. Mezzo-soprano Sophie Haagen and soprano Johanna Nylund master the art of making them realistic and funny at the same time.
- Christine Christiansen, Jyllands-Possten
Tisbe-Sophie Haagen and Clorinde-Johanna Nylund, as the two stepsisters, were humorously caricatured, with beautiful voices that complemented each other perfectly.
- Louise Frevert, Kulturinformation
The two self-absorbed stepsisters, Tisbe and Clorinde, are also convincingly played by Sophie Haagen and Johanna Nylund, who both sing beautifully and show the humorous potential of the roles by being way, way too much.
- Frederik Nagel Fryland, DEN4VÆG
W.A. Mozart, Great Mass, 2023
Mozart's forever-lovely melodies were fulfilled when the soloist, soprano Johanna Nylund, sang the Christe eleison (Christ have mercy) aria, vigorously reaching for high notes.
The confession of faith with the choir, soulfully accompanied by the woodwind instrument, culminated in Johanna Nylund's Et Incarnatus solo, where the soprano opened to her full glory.
- Satakunnan kansa, Kaija Huida
***
What a voice! Johanna Nylund presented arias with a beautiful, mature and narrative expression. The tones flowed easily and completely naturally. Nylund’s voice capacity impressed and caused goosebumbs already from the beginning. The orchestra didn’t have to hold back.
- Bornholms tidende, 2019
Nylund shined with her composure and admirably pure singing. Kaija Saariaho’s composition Sua katselen revealed Nylund’s technical magic, which was particularly emphasized in the quieter tones. Long, static and very quietly sung lines carried over the piano in a controlled manner in the Kangasniemi Hall and captivated the audience.
- Keskisuomalainen, 2019
A special mention of the ease of singing goes to Nylund, who managed the demanding coloratura challenges of the aria ”Rejoice, daughter of Zion” in an unprecedently natural way.
- Keskisuomalainen, 2018
