"Millo has a gorgeously rich voice of enormous power...the beauty of sound is paramount with an effortless legato....soaring through musical lines with grandeur, sensuality, and compelling dramatic power"
Claire Seymour Opera Today 2018

"... an instrument of easy, opulent power and fiery yet sumptuous phrasing" Zachary Woolfe NY Times 2019

"Millo attracts the eye like an ocular magnet....her voice glows rich and red like a ruby!" London Times

" In an age of bland operatic Heather Locklear's, the American soprano Aprile Millo has dared to adopt the scale and individuality of a Bette Davis or Joan Crawford. The results aren't always perfect, but they are always informed by an awareness of a pre-cd-era operatic tradition and she is never dull to watch or hear...Her pulsing "red-sauce" italianate spinto instrument and interpretive flair have made the New York born, Hollywood-raised Diva a leading light in opera...." David Shengold

"The wildly enthusiastic audience gave Millo lusty ovations and numerous bouquets.
.....glittering voice and gleaming high notes, a major success!" NY Times 2009

An Acclaimed return to the Italian stage in debut of Giorgetta, for Genoa Tabarro with Simonetta Puccini in the house:
"E ora veniamo a Il Tabarro, la pagina truce del trittico pucciniano. Siamo rimasti piacevolmente sorpresi, una volta di più, da Aprile Millo. Per carità, conoscevamo già la sua arte e non avevamo dubbi sulla sua interpretazione. Ma ci ha colpito la sua voce ancora così corposa, così sonora, quella facilità nel gestirla nei vari cambiamenti di registro, la sua eleganza e musicalità nel porgere le frasi, nel modularle con differente intensità, “servendo" con pertinenza e prontezza il momento drammatico. Accennando pure i brillanti movimenti di danza, giocando con il corpo e con l’espressione del viso: ci ha fatto sorridere più volte con la sua arguzia scenica. Ha svettato sul cast. Un debutto nel ruolo di Giorgetta di tutto rispetto, una scuola di teatro ricca e preziosa che speriamo sia stimolo per tutti i giovani interpreti presenti, cui sembra mancare, oggigiorno, un “melodrammatico" argento vivo" Operaclick 2014

"The highlight of the evening was surely Cecilia's Death Scene from the opera Cecilia by Refice. Over the last century, the piece has been performed by no less than Olivero, Scotto, Tebaldi and Muzio (for whom the role was written) but it would be difficult to imagine a more ravishing version than the one presented by Aprile Millo. The rapturous beauty of sound that poured forth as Cecilia's sprit leaves her earthly bonds behind was nothing short of divine. Millo's ability to spin a phrase from the depths of her soul upwards to infinity remains something to be marveled at. It was the kind of performance that reminds us why we go the opera, and the kind that audiences in New York see all too infrequently these days."
Peter Danish BWWClassical.com 2014

"From the very first notes to knew the audience knew they were in for something special. Hers is the kind of sound that envelopes the listener in a mental of sensuality, a voice not so much heard as experienced on a physical level"
Doug e Lisle, Concert Recital

Schomopera from Canada writes: in He Said/She Said Review of Aprile Millo Live in Toronto 2014

"Millo showed off a voice that had been meticulously maintained; she had a warm sound that was always spinning through really satisfying legato. When she rose into her top range, it was that really thrilling thing where smart singing gets you the best result; she nearly tore the roof off above the staff, and I loved it so much.

Greg: She took the stage with Linda Ippolito (who was phenomenal all night!!!) at the piano for the first half and from the very first note she sang, I knew I was in the presence of what I like to call "The Real Effing Deal". Full sound, flawless technique and OMG the diction! I felt like I was chewing through every consonant along with her, and for a concert laden with foreign language works (to anglophones) the lack of translations was no issue. Her communication was so clear and focused; I had no trouble following the narrative of some of the pieces with which I was less familiar (here's looking at you, Rachmaninoff, and believe you me - for a guy from Cape Breton Island to understand a story in operatic Russian is a big deal).

Jenna: Aprile really does come from that school of singers who simply feed us sound, relentlessly. She sang every single letter with what felt like endless sound. It reminded me what it meant to be drawn in by a human voice; I couldn't tear my eyes or ears away from her. She sang grand renditions of Strauss Lieder, and one of my favourite Rachmaninoff songs ("Ne poy krasavitsa"). In a beautiful change of sonority, Aprile sang a set of English songs with harpist Merynda Adams, including a show-stopping "Danny Boy". I loved what the sound of the harp did to the sound of her voice; I wondered if her huge power would drown out a delicate harp, but instead Aprile proved that power wasn't her only tool.

Greg: I don't want to talk about technique or selection or anything like that. I'd like to talk about Ms. Millo as a treasure we should be mining. Her breadth of experience (predominantly at, oh, nowhere huge, just the Metropolitan Opera). This woman was a tour de force, singing with a quality of voice that hearkens back to a bygone era of glorious soaring voices that sung for the rafters. I felt like I was being transported back to the glory days of the 70s. Her colours, her timbre and her extreme facility throughout her entire vocal range, tell the story of a true, seasoned professional with years of hard-work and top notch technique. I was floored by her Verdi, and her La fanciulla del West did not disappoint.

Jenna: She earned applause, shouts, and whistles with all of the Strauss and Rachmaninoff and Frank Bridge, but it was with the Italian rep that Aprile really showed her stuff. She gave us Neapolitan songs twice during the evening starting off with a set of Donaudy, Tosti, Donizetti, and Verdi that brought me plenty of nostalgia. Later in the program, with Mary-Lou Vetere on accordion (perhaps the most glamourous accordion-playing I've ever seen in my life), Aprile sang some songs I didn't know by Arturo Buzzi-Peccia. They were so fun. I remember being wowed by how agile Aprile's voice was, racing up to touch the top of her range without forgetting to bring her whole voice with her. I also remember wondering how anyone can play the accordion, let alone with the skill and attitude (and great dress) that Mary-Lou showed. Definitely a highlight of the night.

Greg: She had some special guests show up: baritone Gustavo Ahualli joined her for the duet "Ciel, mio padre" from Aida. He kept his own with a full, warm, caramelly baritone with an easy top that was exciting and calming to listen to, and he stood his own with Millo, a powerhouse of the genre. I saw a harpist listed in the program and thought, "This might be where we get lost". Not so, neither. Millo showed she's more than just a cannon ready to fire off massive dramatic rep, but also an intelligent and artistic singer who really makes music with compatriots on the stage - and I'm a tough sell on "Danny Boy" (Irish heritage, learned it at 6 years old, have to sing it for Mom every time I'm home, grew up with hardworking men singing this song - which is how I believe it should be heard), but I tell you, I was back on the cliff overlooking Sydney Harbour watching the caribou sail off to Newfoundland for about 4 minutes during the piece, and I can't thank Ms. Millo enough for that.

Jenna:Aprile brought us back to opera several times during her recital, with "Laggiù nel soledad" from Puccini's La fanciulla del West, and the Aida duet "Ciel, mio padre!" with baritone Gustavo Ahualli. Gustavo had a great Verdi-baritone sound with a menacing top; he held his own against Aprile's cannon of sound, so that's pretty darn impressive. The night closed with the trio from Norma, "O di qual sei tu vittima!" with Mary-Lou Vetere, tenor Giacomo Folinazzo, and a chorus of the Vetere Studio. Mary-Lou, freshly back from the accordion-playing, sang Adalgisa with a rich, dark sound (in another beautiful gown). Tenor Folinazzo had some moments of wild tuning and edged on shouting, but he sang with surprising power in the Norma trio.

Greg: Now let's talk about Mary Lou Vetere and her rockstar accordion. AWESOME!! I love me some accordion all the time - nothing makes a tango better - but this was out of this world. The Neapolitan songs (Yes, "Funiculi, Funicula" was sung) were the highlight of the night for me. So nice to hear a unique instrument accompanying the voice for a change. Vetere's playing was the right mix of classical, jazz, rock n' roll and opera. I loved every second of it.

Jenna: At the piano, Linda Ippolito filled Trinity St. Paul's Centre with a confident sound, the kind that lets me hear the instrument's real potential. I loved her touch with the Strauss set (what pianist doesn't indulge when they're given Strauss?), and she showed some wicked chops in songs like "Love Went A' Ridin'", by Frank Bridge. She was also a great orchestra; there was absolutely no wimping out on the Aida duet and she had a beautiful Puccini-friendly sound for the Fanciulla aria. I kept thinking how fun it must have been for Linda to play for Aprile. The two of them together had a really elastic connection, with room for playing on both sides and lots of intuition. It's the kind of duo work I love to see.

Greg: I believe we need to make an effort to celebrate treasures like this in our operatic community. It may be to late for us to hear Pavarotti sing live, but make sure you hear her before she retires - not that it sounds likely anytime soon - you'll be the better for it."

“To many, Millo is considered the last of the Golden Age sopranos......."
New York Times of November 2006

As Adriana in ADRIANA LECOUVREUR at Carnegie Hall:

“Aprile Millo had a triumph. The final tableau of the dead Adriana flanked by the two men who love her was very effective. It was all the more effective because Ms. Millo had risen to such heights in the monologue immediately before. Her vocal performance was magnificent: firm and exciting. A vivid figure in a landscape dominated by anemic dramatic sopranos, Ms. Millo embodies divahood, and she is a big enough personality to carry it off. Opera would be the poorer without it."
The New York Times, March 9, 2002

"The undoubted takeaway memory was her knockout version of the "Suicidio" from the Orfano Canal act of Amilcare Ponchielli's "La Gioconda," which she is currently singing at the Met. This is properly classified as a dramatic soliloquy, and never have I heard it sung quite this dramatically. Ms. Millo, in addition to possessing all of the requisite vocal tools, has a highly developed sense of acting. Her little pauses and flashes of the eyes were mesmerizing. This was one of those rare performances at which I heard a loud exhalation of breath at its conclusion, and realized it was mine." New York Sun 2006


"The audience reaction was explosive; I was half-prepared for a frenzied rush to the stage at her curtain calls....a white-hot electrifying performance by Millo!!!" wrote Brian Kellow for Opera News.

As Gioconda in LA GIOCONDA:

"Millo is the high priestess of that old time operatic religion, she brought the audience to a foot stomping frenzy!" Newsday 2004

As Desdemona in OTELLO:

“Millo’s Desdemona was richly voiced and convincingly acted in a regal but warm manner. The long arias ‘The Willow Song’ and ‘Ave Maria’ were meltingly sung, touching and supremely beautiful."
The Washington Post, March 25, 2002

“Aprile Millo gave the character a telling combination of innocence and strength, and filled the theater with her ample, warm voice, paying keen attention to the shape of Verdi’s melodic line."
The Baltimore Sun, March 18, 2002


“Aprile Millo lived up to her reputation as our leading Verdi soprano. Amelia’s poignant plea, ‘Morrò, ma prima in grazia,’ was beautifully sung, rich in her warm lower register with those characteristic gleaming, brilliant top notes. The love duet proved a thrilling highlight, with [Richard] Leech and Millo pouring out reams of expansive tone."
Opera Magazine (UK), April, 2001

“ There is no mistaking the real thing. Millo is all about communication, immediate and intense, a beguiling mix of the spiritual and the carnal.....breathtaking piani and gorgeous sounds become a bridge on which the public is transported to another place and time....." ABC Spain

As Tosca in Cincinnati 2006

"...her voice--which is the opera's point, after all—emerges with bottomless support all across her register with seeming reserves to spare and seemingly without effort." --Citybeat

"Aprile Millo was diva Floria Tosca — and did she deliver! The soprano's rich, plummy voice went from murmur and purr to hefty and hearty with all stops of vocal opulence in between. Her restrained acting allowed the audience to bask in her subtle articulation of text and character." --Opera News