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Allan Altman
American Record Guide, March 2018

Rebeka’s voice is one of the most beautiful in the opera world today. Her attacks are clean, the legato smooth, and the florid passages flow with an instrumental ease and purity that keeps the rhythm incisive. Aside from a hint of wildness that sometimes affects the very highest pitches, she sings with a solid facility that can occasionally be a liability.

Among the many jewels here is her exquisite rendition of Desdemona’s Willow Song from Rossini’s Otello—bel canto singing at its most persuasive. © 2018 American Record Guide Read complete review on American Record Guide

Hugo Shirley
Gramophone, January 2018

It’s a big, glossy sound, with an evenly produced—and somewhat uniformly applied—lusciousness of timbre. The singing is completely secure, and [Marina Rebeka’s] coloratura generally impressively accurate, only occasionally losing some focus and tension in the very trickiest passages.

It’s good…to have a chorus on hand, as well as a trio of additional singers. They contribute well to a disc that is by any standards an impressive Rossinian calling card from a formidable singer. © 2018 Gramophone Read complete review on Gramophone

Michael Cookson
MusicWeb International, October 2017

Preparing meticulously for this album Rebeka has studied Rossini’s original handwritten scores and has fashioned her own coloratura. Throughout this studio recording of works by the bel canto master Rossini, Rebeka gives a consistently high level of performance with plenty of drama and high emotion, rich in musical insights. …In the title role of Semiramide, the act one cavatina with chorus ‘Bel raggio lusinghier’ the Babylonian queen waits for Arsace who she has fallen in love with, though he is actually her own son. Rebeka’s bright and attractive tone is impressive, being especially silky in her mid register. Her ability to glide quickly to her high notes is impressive too… The aria ‘D’amor al dolce impero’ from act two of Armida brings the princess of Damascus, a sorceress, singing of the strength of her love for the knight Rinaldo. Here Rebeka’s range of coloratura is accomplished, despatched to perfection with especially fine breath control. From act three of Guillaume Tell Mathilde’s air ‘Pour notre amour - Sur la rive étrangère’ Princess Mathilde recognises the impossibility of her love for Arnold and they say their fond farewells. © 2017 MusicWeb International Read complete review

Remy Franck
Pizzicato, September 2017

Marina Rebeka is an exceptional Rossini performer: her luminous voice ensures powerful dramatic performances without lacking lyrical qualities. Stylistically, she is beyond any criticism, and her ability to embody the various characters she has to sing, is most impressing. © 2017 Pizzicato

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