"Roza Bulat  has been blessed - and has meticulously cultivated - a splendid lyric soprano with a glowing, handsomely nuanced head voice and a rich, tawny lower register. These are distinct but similar, and complimentary in the most beautiful way. She knows how to play them off each other for purely sensual variety, as well as for dramatic expression. Rather than integrate the jumps and angularities in her character’s line, she stressed them, and she used the contrasts to convey the woman’s extreme anguish of mind, as she attempted to keep her departing lover on the other end of the highly undependable telephone line. As the woman became more agitated and confused, Bulat brought out the explosive rush of sharp French consonants for expression, meanwhile maintaining the splendid golden timbre of her upper range. This fidelity to good production together with the passionate expressiveness of her phrasing and use of language brought the listener deeply into Poulenc’s solitary drama and his character’s internal pain. We are aware that “elle” is the descendant of Donna Elvira and Elettra, but her psychological situation is entirely of the twentieth century. A woman in a Paris apartment might use her telephone to call almost anyone, but her isolation is more absolute than on the streets of an anonymous Spanish town centuries ago. In Ms. Bulat’s interpretation our absorption in the voice and the music brought this alienation to a deeply felt, existential level."

Michael Miller, New York Arts, February 18, 2012

"Roza Bulat of Uzbekistan sang Russian songs by Rachmaninoff with a pure and note perfect voice."

Water Island Festival, St. Thomas Source, February 14, 2009

"Miss Bulat revealed her true talent in “Was I Not A Little Blade of Grass?” the first song of Tchaikovsky. Dramatically interpreted, she transfixed us with her beautiful tone and passionate crescendo from pp to ff in the final stanza, lamenting her fate…"

NYC The Berkshire Review for the Arts, October 19, 2008, Carnegie Hall

"Roza Bulat, a native of Uzbekistan, was a splendid Fiordiligi, giving just the right edge of severity and hypocrisy to her character’s stubborn virtue. An experienced and impeccably trained singer, her pure, limpid soprano was a joy to hear throughout. She showed impressive intelligence and taste in her phrasing and characterization. Especially beautiful was the effortless and elegant way she turned ornaments and cadences. She had her own triumph in her “Come scoglio,” which was grand, elegant, and beautiful."

Così Fan Tutte, The Berkshire Review for the Arts, August 15, 2008