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Charles H Parsons
American Record Guide, July 2017

The performance is almost first-rate. Noseda leads a symphonic reading of the score. Details sound with simple clarity, with elegance. Yet the singers are well attended to. American soprano Lewis shows why she one of the most preferred Aidas around today. To a personal beauty she adds beauty of voice. Her exquisite pianissimos shimmer, and she can pull out stops to soar over any ensemble. Rachvelishvili is a vocal bulldog! With power to spare she could beat any vocal competitor. …Prestia’s Ramfis has got it all. He is tall, dignified, and plunges to the vocal depths. It is good to see his facial expressions up close. This Ramfis really cares about Radames. His look of bewilderment and disappointment in Radames’s betrayal are most touching. Sim’s king is rock solid… © 2017 American Record Guide Read complete review on American Record Guide

Bill White
Fanfare, May 2017

Taking the lead role of Aida in Turin is American soprano Kristin Lewis. Lewis seems to have made somewhat of a specialty of the captive Ethiopian princess, and one can understand why. Colleague Huntley Dent has said of her that she has a lovely voice, dramatic conviction, and unforced emotional communication. I would agree. She also sings both her two beautiful arias with notable vocal charm and sincerity, her rich chest voice particularly effective. Georgian mezzo-soprano Anita Rachvelishvili also sings well in the role of Amneris, providing a jealous, feisty rival for Aida. © 2017 Fanfare Read complete review

Mark Mandel
Opera News, May 2017

VERDI, G.: Aida (Teatro Regio Torino, 2015) (NTSC) 736908
VERDI, G.: Aida (Teatro Regio Torino, 2015) (Blu-ray, HD) 737004

Anita Rachvelishvili’s Amneris, by turns sensitive, sensual and searing, dominates this Gianandrea Noseda-conducted Aida from Turin’s Teatro Regio in 2015.

Kristin Lewis has shining moments as a sympathetic, lyrical Aida. …In “O patria mia,” where greater Aidas have come to grief, Lewis sings a sovereign high C and beautifully floats the final A. With Radamès by the Nile, her soft singing is lovely. In the tomb, her high notes are vibratoless and pure.

Marco Berti as Radamès sharps the “vinto!” just before “Celeste Aida,” and he ends the aria with a forte attack and crescendo on the high B-flat, where Verdi asked for pianissimo and morendo. …he sings heroically and well; he’s quite resonant and satisfying at “Sacerdote, io resto a te.” © 2017 Opera News Read complete review

Michael Cookson
MusicWeb International, December 2016

At ease in the title role of the Ethiopian Princess captured as a slave girl, Lewis sings her romanzas ‘Ritorna vincitor!’ and ‘O patria Mia’ with considerable assurance, displaying commitment and dramatic strength. Gliding smoothly with fluidity through her range the American lyrico-spinto communicates a tender expression. I have seen more emotionally charged performances in the title role but Lewis acts well here, if in a rather understated way. …Marco Berti is certainly an experienced Radamès. Gifted with one of the most famous of all opera arias, ‘Celeste Aida’, which appears early in the opera, the Italian tenor copes well, giving a moving rendition, masculine and full of sincerity with a voice full of vocal colour.

Anita Rachvelishvili…gives a stand-out performance as the cunning Princess Amneris the daughter of the Egyptian King. ‘L’abborrita rivale a me sfuggia’, the Georgian mezzo’s challenging aria receives a sterling performance, firm, dark hued and highly expressive, if sometimes at the expense of steadiness. Heavily passionate, the duet with Radamès ‘Già i sacerdoti adunansi’ sees Rachvelishvili generating an abundance of emotional drama combined with her convincing acting. Demonstrating a consistent level of self-assurance, bass-baritone Mark S. Doss as Amonasro the Ethiopian King and stentorian bass Giacomo Prestia as Ramfis the high priest, both acquit themselves commendably. As the Egyptian King bass, In-Sung Sim does all that is asked of him and Kate Fruchterman as the High Priestess sounds fine too, in her voice only part. Fiercely committed, the assured Gianandrea Noseda conducts his Orchestra and Chorus Teatro Regio di Torino who perform splendidly throughout in music they must know so well. Especially rewarding are Noseda’s chosen dynamics, which feel ideal, adding to the on stage drama. In particular, the ‘Triumphal March’ is brilliantly done providing plenty of splendour. © 2016 MusicWeb International Read complete review

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