"On the podium the young and well-known conductor Sergio Alapont, a guarantee of excellent musicality and strong intentions. He dominated with confidence the orchestra "Città di Ferrara" well kept by the firm and sure baton of the Spanish maestro who has been able to find and develop nuances of chiaroscuro remarkable and moments of suggestive abandonment during salient points of Donizetti's masterpiece." - Liricamente - Maria Cristina Chiaffoni Read full review.
"Calenos gave an exceptionally musical and heartfelt interpretation of a woman torn between her desire to be faithful and her need for an independent life. And as her paramour, tenor Vickers has a romantic presence and the ample, bright squillo to ride Puccini’s lush orchestration. . . La Zia Principessa (forceful contralto Alissa Anderson) . . . Like Tabarro, this work depends on the musical strength and dramatic gifts of its lead. As before, this operatic necessity is magni
"Andreassen was an excellent Verdi bass - gruff and arresting with a larger-than-life sound that could be modulated when necessary to a tender croon, or a terrified stage whisper, as in themors stupebit." -Masslive Read full review.
"Director Kristine McIntyre (“Tales of Hoffmann,” 2016) gives her performers free range on a sloping set borrowed from Arizona Opera. . . Rachel Sterrenberg and Mackenzie Whitney, as a tightly wound young writer and a restless would-be pilot respectively, inch toward each other in a series of satisfying duets. Opposite them, the eloquent and affecting mezzo-soprano Adriana Zabala and easygoing baritone Levi Hernandez have sharp comic timing as a long-married couple who can no
"mezzo-soprano Cassandra Zoe Velasco’s brilliant portrayal of Rosina. Refreshingly, Velasco’s Rosina is not the boring, innocent girl without desire, she is a bold character, playing on her sexuality and passion to get her way in the end. . . Matthew Burns’ Doctor Bartolo, in this production an eye doctor, and is ludicrous and laughable in all the right ways as his wide range and impressive falsetto bring a sense of goofiness to this sometimes dark character." -KC Metropolis
“Alongside Sigurdarson, some noteworthy voices shone. At the top of the list for unwavering consistency and interpretation, there was silken soprano Susannah Biller as the winsome ingénue Nannetta, hearty mezzo-soprano Dana Beth Miller as the nettlesome Dame Quickly...One of the performance highlights was the comic spark set off between Miller’s Dame Quickly and Sigurdarson’s Falstaff with voices matching so marvellously you might have wondered whether an amorous rendezvous w