Paul Corfield Godfrey
, September 2012
The mainly young cast give excellent performances musically as well as dramatically. Marina Domashenko is a very Slavonic mezzo, but she sounds well suited to her role and her singing is free from any suspicion of wobble even on the highest notes. And Maya Dashuk is an excellent Micaela, for once a real rival to Carmen with a beautifully creamy voice and plenty of self-aware presence—a far cry from the milksop figure we sometimes encounter. The supporting roles, with the exception of a woolly-sounding Zuniga, are all excellently taken.
The chorus acquit themselves excellently, with some very striking phrasing and plenty of body, and throw themselves with enthusiasm into Zeffirelli’s individual treatment of the various chorus members.
Fiorenza Cedolins as the heroine is quite simply superb, singing with variety of tone and absolute command of all her vocal registers, and her reactions to Cavaradossi and Scarpia are realistic. Marcelo Álvarez as her lover also produces plenty of volume when required, but can shade his voice down to produce singing of a subtlety that is sometime surprising and often enchanting.
The orchestral playing under Daniel Oren is well-controlled and full of character…There are some gripping effects, especially from the real cannon—some of which seem to fire more convincingly than others—towards the end of Act One. © 2012 MusicWeb International Read complete review