Madama Butterfly by Giacomo Puccini

Berlingske Tidende
.....The most interesting of these was soprano Nina Pavlovski's royal debut in the title role.  A debut which, however, took place earlier than planned, not the 25th of March as first announced, but last Tuesday, when the theatre, because of a cancellation, put Madame Butterfly on the marquee at very short notice, literally throwing Nina Pavlovski into an overwhelming debut......
     .......strongest in the 2nd act's heavy tragedy, where Nina Pavlovski expressed all of the character's desperation and frustration, at last taking matters into her own hands.' -----

Extra Bladet
Nina Pavlovski - she's tremendous!
I race home to my keyboard with a wondrous message:
An artist! A singer! A living being on the stage, burning with passion. One of those opera phenomena who can magnetise with her charisma and impact, shooting laser beams from the stage directly into the audience.
......And that voice, vibrating with drama, quivering with all the nuances of emotion with a tone that envelopes every word she sings. In perfect Italian.  Sometimes down to a whisper, while the vibrato still carries to the farthest corner of the theatre.  Sometimes up to a scream of agony that in a fraction of a second is transformed to a belcanto-pianissimo. A voice and an
expression which grows from within with logical consequence.
.....Use her again.  There's Puccini and Verdi in Nina Pavlovski.  And a lot more.  Imagine her as Tatiana in Eugene Onegin - after all, she is half Russian, grew up with her father's famous balalaika orchestra, and, by the way, a student of Galina Vishnevskaya, the world-renowned Russian soprano.

Weekend-avisen 
........when the drama is made to swell asproudly as as director Marco Guidarini and soprano Nina Pavlovski in partnership are able to.  When the performance is this passionate, the Geisha drama grows to becomes Puccini's conclusive masterpiece, and the controversial Butterfly aria stands forth with the same fire as Isolde's Liebestod. This is just how well Nina Pavlovski masters her role, which seems in name alone to contain a little Japanese girl.  Of course, she is Cio-Cio-San as long as Butterfly's illusion-filled life lasts, even though Pavlovski indeed has the voice and the stature to play robust East European water nymphs and princesses.  But in her death lament, when Cio-Cio-San says farewell to her little child, Puccini's mask is broken.  This is Italian music, and this is an Italian mother in the great Anna Magnani tradition.  Nina Pavlovski manages this with ease, while the outstanding Hanne Fischer in the mezzo part of the illusionless Suzuki, is just as moving, while remaining behind the Japanese mask.