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Ralph V Lucano
American Record Guide, March 2013

There’s wonderful music here. The performance is excellent, with especially good work from soprano Theodossiou and tenor Meli. Both have attractive voices, act well, and know how to shade their melodies. I Lombardi has an important second tenor role…well sung by Roberto de Biasio… © 2013 American Record Guide Read complete review on American Record Guide

Robert J Farr
MusicWeb International, February 2013

In the case of the complexities of this story, and the switches of venue involved in this dramatic and melodic opera, I strongly recommend viewing it.

In this performance Roberto De Biasio, who sings the principal tenor roles in several of this Tutto Verdi series, does so here with the bright forward tone that I have admired. This is coupled with his ability to sing softly…Add his ability to act the role as well as express emotions in his singing and there is no chance of his being over-parted, as can be the case.

…the physically imposing Michele Pertusi acts well and sings with steadiness and good characterisation…The Giselda of Dimitra Theodossiou is also worthy.

…Francesco Meli…sings with vocal strength, some elegant phrasing and a keen sense of words, not least in his duet with Giselda from heaven following the chorus of the celestial spirits…

If one component of this performance stands out it is the singing of the chorus, whether as crusaders or pilgrims.

The conductor paces the work well and has a good feel for a Verdian phrase.  © 2013 MusicWeb International Read complete review

Lawrence Devoe, November 2012

This is a very well prepared production with some terrific singing by the principals. Orchestral direction by maestro Danielle Callegari is first-rate. The best-known piece, the Act IV Crusader chorus “O Signore, del tetto natio,” is a marvel of choral writing and takes pride of place with some of the best Verdi choral works…Another highlight is the solo violin in the prelude to the final scene of Act III…a thing of beauty to be sure.

Costumes are period-specific and the sets if rather stark convey an adequate sense of place. The best make up job, beyond doubt, is Pagano’s transformation from nobelman to hermit, complete with bald head and eyepatch…there is excellent coverage of the stage along with dramatic face shots.

The sound recordists obviously know this house very well and present excellent pit-stage balance. The singers are given their best opportunity to shine here, and shine they do. Special recognition to the excellent chorus that is a star all by itself.

Another BD premiere for the Tutto Verdi series and one that compels the viewers’ attention for its musical values and excellent casting…all of the principals give terrific accounts of their parts. © 2012 Read complete review

Lawrence Schenbeck
PS Tracks, November 2012

Verdi and Solera took care to fashion the libretto and music as much along the lines of their monster hit Nabucco as they could. The result was another big evening, four acts full of violent conflict, improbable plot twists, and stunningly effective ensemble sequences with chorus. The orchestra has become larger, the range of color and atmosphere it provides correspondingly wider. The scenic design in this production reflects that breadth. It is remarkably creative and effective, possibly the best in this batch.

The opening number is a masterly example of Verdi’s ability to capture the conflicting emotions of the principal characters. I really enjoyed hearing tenor Francesco Meli, who plays Oronte…Daniela Pini, as his mother Sofia, pairs nicely with him…Giselda…is sung by…Dimitra Theodossiou…She is in good voice for her preghiera scene here, a touching “Ave Maria” of the kind that would become a regular feature of Verdi operas. © 2012 PS Tracks Read complete review

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