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Göran Forsling
MusicWeb International, April 2016

The playing and singing of the orchestra and chorus is fully worthy of the occasion, and the soloists, though hardly in the premier league, do a good job. Annunziata Vestri as Rosa Mamai is a good lirico-spinto. © 2016 MusicWeb International Read complete review

Henry Fogel
Fanfare, January 2016

Annunziata Vestri sings movingly and powerfully as Rosa Mamai, the tortured mother. Her aria in the final act “Esser madre,” is a high point, and is touchingly staged as she recalls raising Federico by looking at his baby carriage. It is impossible not to feel her pain throughout. Dimitry Golovnin is a fine lyric tenor with a real feel for the intimate style of much of the music. …Stefano Antonucci is also deeply persuasive as Baldassarre. His voice shows some signs of age, which is actually necessary for the role of this old wise man, but never does it turn into a disturbing wobble. He sings with tenderness and power. …Instead of the mezzo-soprano that Cilea calls for as L’Innocente, this production uses a fine countertenor, Riccardo Angelo Strano, and he is vocally excellent and extremely convincing as the young boy. © 2015 Fanfare Read complete review

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