"Lina Mendes, a soprano with a distinctive timbre, generous volume, ease with coloraturas, and a perfect stage presence." Opera World Robert Benito "The cast is very remarkable in the main quartet. Gregory shines as Idomeneo, but perhaps more surprising is the clean and secure performance of Lina Mendes." Idomeneo - Palau de les Arts Spain (Valencia) Jorge Fernández Guerra, El País 2016 "Lina Mendes, trained at the Centre de Perfeccionamento Plácido Domingo, offers a flawless Ilia, singing with precision, fluidity, and ease, with refined technique. (...) and in the refined Ilia, portrayed by Lina Mendes, with intense and emotional arias." La Vanguardia Joger Alier, 2016 "(...) and the charming Ilia, whom Lina Mendes embodies with all her simplicity and sweetness." El Mundo Álvaro Del Amo, 2016 "Stupendous the three female voices, with the revelation of Lina Mendes, (...)." La Razón/Beckmesser Alonso Gonzalo, 2016 "The heir to the throne is in love with the princess and Trojan slave Ilia (the crystal-clear Lina Mendes)." César López Rosell, 2016 El Periodico "Lina Mendes is another of the night's winners. (...) she demonstrated first-rate skills in Mozartian singing, full of taste and naturalness, without affectation." ABC Comunidad Valenciana Joaquín Guzmán, 2016 "(...) her pleasant timbre, along with good projection and excellent agility; and this was evident in each of her lyrical interventions: right from the start of the opera when she interpreted 'Padre, germani, addio' with expressiveness and delicate accents. She displayed excellent vocal control in her aria from Act 2, 'Se il padre perdei.' Her best moment occurs when facing the beautiful and delicate aria 'Zeffiretti lusinghieri,' from Act 3." Brio Clasica Diego Garcia Perez-Espejo, 2016 "Lina Mendes was an effervescent Ilia with a crystal-clear voice." Las Provincias César Rus, 2016 "Among them, Brazilian Lina Mendes, an Ilia full of sensitivity and with a beautiful vocal line." L’opera in casa Renato Verga, 2016 "Gilda was played by the young and talented Lina Mendes, who is forging a promising career (in São Paulo, Lina recently made a praised Cunegundis in Bernstein's 'Candide,' with Osusp, and later, as a replacement for an ailing soloist, with Osesp). The soprano has a privileged voice with good projection, and she knows how to imprint rich timbral nuances. With stage naturalness, Lina paired well with Giugliani's Rigoletto (both had already performed together at Theatro Municipal de São Paulo in 2011)." Rigoletto - Palácio das Artes Belo Horizonte Nelson Kunze, Concento Magazine 2014 "...special mention must be made of Mendes, who establishes herself as one of the most versatile Brazilian singers of the moment." Three Minutes of Sun - 23rd Online Amazon Opera Festival Irineu Franco Perpétuo, Concerto Magazine 2021 "The singers are magnificent: Lina Mendes, a young soprano who has been making her career known in recent years..." Three Minutes of Sun - 23rd Online Amazon Opera Festival Jorge Coli, Concerto Magazine 2021 "Soprano Lina Mendes portrayed Oscar with great agility and displayed all her musicality (...). In passages like 'Volta la terrea' (in the first act), 'Di che fulgor, che musiche' (quintet in the first scene of the last act, where she sang and danced simultaneously), and 'Saper vorreste' (during the ballroom scene), the artist demonstrated stage mastery and balanced, resonant, and clear vocal delivery." Un Ballo in Maschera - Theatro Municipal do Rio de Janeiro Leonardo Marques, Movimento Website 2018 "On the two days I was at the Theatro Municipal, Valencienne was interpreted by the same soprano, Lina Mendes ...And from the singer's interpretation, the memory of her stage presence and a voice that seems to have fully blossomed remains..." VIÚVA ALEGRE – Theatro Municipal de São Paulo João Luiz Sampaio, Revista Concerto 2019 "And Lina Mendes makes Oscar, both vocally and scenically, a counterbalance of lightness to the drama." UN BALLO IN MASCHERA. Theatro Municipal do Rio de Janeiro João Luiz Sampaio, Estadão 2018 "As for Lina, (...), she confirmed everything that was expected of her: an irreproachable performance, exhibiting a voice that evolves every day, sonorous, musical, well-projected, endowed with refined technique. The soprano made the most of her great aria, Che fiero momento!, sung to perfection." ORFEU ED EURIDICE. Theatro Municipal do Rio de Janeiro Leonardo Marques, Site Movimento 2016 "In the role of Eurydice, soprano Lina Mendes only effectively sings in the third act, and it is worth waiting for the participation of the young and talented singer. Her projection is perfect and she uses her beautiful timbre with dramatic flair and in a way totally coherent with her character. The arioso Qual vita è questa mai and the subsequent aria Che fiero momento! were sung with musicality..." ORFEU ED EURIDICE. Theatro Municipal do Rio de Janeiro Fabiano Gonçalves, Site Movimento 2016 "The excellent soprano Lina Mendes also occupied the stage well, with a beautiful and clear voice, and made a consistent Eurydice." ORFEU ED EURIDICE. Theatro Municipal do Rio de Janeiro Nelson Kunze, Revista Concerto 2016 "Lina Mendes, forged in the Centre de Perfeccionamento Plácido Domingo, offers an Ilia of clean, fluid and easy singing, of refined lyricism and with undoubted potential." IDOMENEO. Palau de les Arts Espanha (Valência) Alejandro Martinez, Platea Magazine 2016 "Soprano Lina, with a remarkable vocation for the baroque, enchanted with creative ornaments..." THE MESSIAH. Theatro Municipal do Rio de Janeiro Fabiano Gonçalves, Site Movimento 2015 "The couple of the painter Marcelo and his coquettish Musetta were very well interpreted by Germán Olvera and Lina Mendes. (...) The soprano Lina Mendes knew how to infuse her Musette with the right doses of coquetry and tenderness, making her presentation waltz a delightful aria." LA BOHÈME. Palau de les Arts Espanha (Valência) Robert Benito, Opera World 2015 "Also noteworthy was the interpretation of Lina Mendes, in an uninhibited and crazy Musetta, (...)." LA BOHÈME. Palau de les Arts Espanha (Valência) Joan Castelló, EFE 2015 "…a special highlight for the young soprano Lina Mendes, who played the demanding role of Oscar." UN BALLO IN MASCHERA. Palácio das Artes Belo Horizonte Nelson Kunze, Revista Concerto 2013 "...Lina Mendes (impecable in the masculine role of Oscar)." UN BALLO IN MASCHERA. Palácio das Artes Belo Horizonte Sidney Molina, Folha de São Paulo Ilustrada 2013 "Soprano Lina Mendes was an excellent Blonde, singing with grace, lightness, good presence, and, especially, refined technique. Her two arias, Durch Zärtlichkeit und Schmeicheln and the exultant Leb wohl, guter Pedrillo!, were beautifully interpreted, leaving a desire for "more" in the ear. Lina Mendes is one of the best singers of the new national generation, and deserves special attention." DIE ENTFUHRUNG AUS DEM SERRAIL. Theatro Municipal do Rio de Janeiro Leonardo Marques, Site Movimento 2013 "...Owner of a beautiful timbre and exuding grace, soprano Lina Mendes made a perfect Blonde. Her youthful and colorful voice fit precisely the character's lines, as explicit in the arias Durch Zärtlichkeit und Schmeicheln, with clear high notes and impeccable emission, and in the exultant Welche Wonne, welche Lust, interpreted with joy. The performer's good stage presence came to light in the amusing duets with Omin and with Pedrillo." DIE ENTFUHRUNG AUS DEM SERRAIL. Theatro Municipal do Rio de Janeiro Fabiano Gonçalves, Site Movimento 2013 "...soprano Lina Mendes stands out for the sweetness in her solos, interpreting the voice of liberty and reason." ÇA IRA. Theatro Municipal de São Paulo Katy Freitas, Território da Música 2013 "The highlights were the sweet voice of soprano Lina Mendes (whose career deserves to be followed)..." ÇA IRA. Theatro Municipal de São Paulo Sidney Molia, Folha de São Paulo Ilustrada 2013 "...In the quite homogeneous cast, the performance of soprano Lina Mendes should also be highlighted..." L’AMOUR DES TROIS ORANGES. Teatro Municipal do Rio de Janeiro João Luis Sampaio, Estadão Cultura 2011 "Gilda was taken by Lina Mendes..., what freshness in the timbre, what a delight to hear her ascend to dizzying heights in "Caro Nome"." RIGOLETTO. Theatro Municipal de São Paulo Jorge Coli, Folha de São Paulo Ilustrada 2011