Die zentrale Figur des Abends allerdings ist die Kammerzofe Lisetta, von der sibirischen Sopranistin Irina Dubrovskaya nicht nur sehr temperamentvoll-charmant gespielt, sondern wahrlich auch in der gebotenen Virtuosität mit sicheren Koloraturen und glänzenden Spitzentönen gesungen. Sie ließ sich auch nicht aus der Ruhe bringen, als ihre große Arie Deh, in questo core unterbrochen werden musste - im Orchester war plötzlich das Licht ausgegangen! Als es im Orchester wieder hell wurde, begann man einfach nochmals von vorne - und so konnte man diese virtuose Arie mit dem sehr schönen Englisch-Horn-Solo nochmals hören. Großer und begeisterter Beifall war ihr sicher!

http://www.deropernfreund.de/venedig-malibran-6.html

Mexican audiences have been very lucky with the sopranos that have sung Lucia in Bellas Artes in the past: María Callas, Winifred Faix-Brown, Graciela de los Ángeles and Eglise Gutiérrez, to name a few. All of them left fond memories of this opera and this particular role and now we can add the name of Irina Dubrovskaya to this list. Her Lucia was vocally perfect, singing with lovely legato, gorgeous tone and blazing, secure high notes. She is also very pretty so, physically, she was very believable as the bride of Lammermoor. Dubrovskaya's voice floats beautifully in the piani and her staccati echoeing the flute in the Mad Scene were pitch perfect. It runs effortlessly through the theater and showed Lucia's fragility and vulnerability, specially in the first act. "Regnava nel silenzio" was gorgeous and her phrasing is elegant and lovely. Her duets with Vargas's Edgardo and Heredia´s Enrico were beautifully sung. (...) She ended the aria with a gorgeous high note and fainted into the arms of the ladies of the chorus. It was a musically perfect performance, with all the notes and the gorgeous bel canto singing (...)
Ingrid Haas, OperaClick

Having acknowledged Morassi’s fine contribution to this production, the burden for a successful performance of “La Sonnambula” still lies primarily with the singers, and in particular with Irina Dubrovskaya, who was cast as Amina. Physically attractive with a slight build, she suited the role perfectly, suggesting the vulnerability and naivety of a young woman, who is still adjusting to her awakening sexual emotions. She produced a scintillating if imperfect portrayal. Her acting was first class; her gestures were always well-placed, and her vivid expressivity brought the character to life, highlighting her naivety, purity and the joys of new-found love in a sympathetic and believable manner. Her reactions to being found in the Count’s bed, after unknowingly sleepwalking her way into his bedroom, followed by Elvino’s subsequent rejection of her, were infused with pathos. She made a convincing Amina, one with which the audience could readily sympathize.

Dubrovskaya has a strong, crystalline soprano, with marvelous technique: her phrasing is subtle and flexible with an array of colors, her dynamic control is formidable, moving easily from soft pianissimo to fortissimo. She has a stable, controlled legato and is able to take leaps in her stride, and hits and sustains the high notes with apparent ease. Her fioritura is a delight and she ascends and descends scales for fun. All of which she employed with enthusiasm and to great effect, bringing depth and subtlety to Amina’s character. Nor was it only in the arias or ensemble pieces that Dubrovskaya was able to shine – her recitatives were also beautifully phrased and delivered in her, sometimes, rapid exchanges with other characters. Yet, as already stated above, this was not the perfect performance. (...) Dubrovskaya produced a compelling performance as Amina and carried the role beautifully, perfectly balancing the naïvety, joy, and suffering which defines her character.

http://operawire.com/la-fenice-2017-review-la-sonnambula-a-risk-taking-diva-production-elevate-bellinis-musical-genius/