...wonderful technique, vocal beauty and intimate knowledge of the character
- Operawire
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Yves Abel / Pedro Bartolomé, Conductor
Nicola Berloffa, Stage Director
Yves Abel / Pedro Bartolomé, Conductor
Nicola Berloffa, Stage Director
Yves Abel / Pedro Bartolomé, Conductor
Nicola Berloffa, Stage Director
Georges Petrou, Conductor
Mario Martone, Stage Director
Georges Petrou, Conductor
Mario Martone, Stage Director
Georges Petrou, Conductor
Mario Martone, Stage Director
Adalgisa Norma at Teatro de la Maestranza, Rosina Il Barbiere di Siviglia at Teatro Mario Del Monaco di Treviso and Teatro Verdi Padova , Angelina La Cenerentola at Staatsoper Hamburg, Romeo Capuleti e i Montecchi with Opéra Royal de Wallonie.
La Monnaie De Munt with double role debuts Giovanna Seymour/ Sara in Donizetti's I Bastarda, Arsace in Aureliano in Palmira Rossini Opera Festival, Romeo in Capuleti e Montecchi at the Lithuanian National Opera, Desdemona in Rossini's Otello Belcanto Opera Festival Tokyo, Adalgisa in Norma and Leonora in La Favorita at La Monnaie-De Munt, Porpora's Orfeo at the Theater an der Wien, Giovanna Seymour in Anna Bolena at the Teatro Carlo Felice in Genoa and at the at the Dutch National Opera Amsterdam, Romeo in Vaccaj’s Giulietta e Romeo, Rosina in Il Barbiere di Siviglia at the Teatre Principal de Maó in Menorca, Cherubino Le Nozze at the Teatro Filarmonico-Arena di Verona, Dorabella Cosi Fan Tutte at the Korea National Opera, Donna Elvira Don Giovanni at the Teatro Comunale in Bologna, Neris in Cherubini's Medea at the Wexford Festival.
Lupinacci’s voice, on the other hand, was awash with color, that she varied with a great deal of skill, adding to her ability to inject meaning through her use of subtle accents. It created a very expressive performance. Her intelligently crafted recitatives were layered with emotion and meaning.
She confirms herself as an intelligent artist, able to enliven the sung word and be fully credible on stage in her noble quivering of a young lover, until the touching final scene.
Mezzo-soprano Raffaella Lupinacci won over the Florentine audience with a round, mellow and homogeneous vocality throughout her range that emerges well in the cavatina of "Fac, ut portem" after harmoniously merging with that of the other female voice in the duet "Quis est homo".
This young mezzo shone as a fragile but also caring Adalgisa, overflowing with emotion. Her radiant high and beautiful middle registers reminded me of a young Cossotto. A singer to keep an eye on.
Raffaella Lupinacci is perhaps the most youthful and credible Adalgisa we have ever seen and heard on stage. More fragile than her partner, as the psychology of her character requires, the Italian mezzo deploys a belcantistic phrasing of very high school”
Raffaella Lupinacci (Jane Seymour) was especially a discovery. The great duet of the two rivals in Act Two was a vocal and theatrical highlight of an evening unlike any other
Raffaella Lupinacci as Giovanna Seymour was [...]Very expressively sung and beautifully played
