"All three Tabarro principals acted (and interacted) very credibly. Eleni Calenos (Giorgietta) proved a find, a real verista who delivered the goods stylistically, with keen phrasing and darkly warm if occasionally resin-tipped vocalism. Matthew Vickers looked a burly but virile Luigi and sustained some of Puccini’s most challenging tenor music with ringing power. . . Equipped with healthy chest voice, Alissa Anderson charmed the audience with Frugola’s antics . . . Calenos and Anderson returned after intermission as the familial antagonists of Suor Angelica. Though both striking women, by force of character projection they seemed completely different beings than as Giorgietta and Frugola. . . Calenos’ nun—ever the outsider—was extremely effective; she declined some high options but sustained vocal intensity and focus. Anderson, again favoring the contralto end of things, scored every possible point textually and in detailed stance and movement. . . Much weeping filled the theater in the opera’s final scenes; surely Calenos deserved an initial solo “Butterfly bow” before the other much-applauded curtain calls." -Opera News
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