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Göran Forsling
MusicWeb International, May 2017

The four central characters, Elizabeth, Roberto and the Duke and Duchess of Nottingham, all have arias and ensembles of the highest order. Even though the opera is named after the leading male character it is the Queen who has the lion’s share of the music, and it is indeed a gigantic role which requires high-octane singing and a tessitura that is dangerously high-lying. © 2017 MusicWeb International Read complete review

Carla Maria Verdino-Süllwold
Fanfare, May 2017

…this performance of Donizetti’s Roberto Devereux is anchored by the powerful performances of its four principals, most notably the Elisabetta of Mariella Devia. The soprano, who began her career as a lyric coloratura, has in recent years moved into the dramatic bel canto repertoire, and this album showcases why this repertoire suits her remarkably well-cared for voice. Devia sings the punishing part with musicality, elegance, and intelligence. Her dark-colored, rich timbre and evenness of registers from an imposing chest tone to secure above the staff heights (including an intact high D) are remarkable; her ornamentation is tasteful, and she knows how to imbue the music with fire and tenderness. Hers is an imperious, yet womanly queen who is every bit a regal tragic figure.

Mezzo-soprano Sonia Ganassi uses her plummy sound with great lyricism and gives Sara Nottingham the vulnerability and passion she needs. Tenor Stefan Pop possesses a bright, round, robust sound, …he conveys a proud, dynamic, impulsive hero who makes an overall strong vocal impression. Mansoo Kim uses his mellifluous, charcoal-timbred baritone to good effect, …The remainder of the comprimario roles are suitably cast, …Francesco Lanzilotta conducts the orchestra and chorus of the Teatro Carlo Felice with red-blooded intensity, while remaining singer-friendly. © 2017 Fanfare Read complete review

Richard Lawrence
Gramophone, March 2017

DONIZETTI, G.: Roberto Devereux [Opera] (Ganassi, S. Pop, Mansoo Kim, Genoa Carlo Felice Theater Chorus and Orchestra, Lanzillotta) CDS7755.02
DONIZETTI, G.: Roberto Devereux (Teatro Carlo Felice, 2016) (NTSC) DYN-37755
DONIZETTI, G.: Roberto Devereux (Teatro Carlo Felice, 2016) (Blu-ray, HD) DYN-57755

The ladies are superb. The opera begins with Sonia Ganassi as Sara, lyrically despairing in ‘All’aflitto’; later she is touchingly vulnerable when explaining to a furious Roberto how she was forced into marriage. And Mariella Devia is a miracle. Nearly 68 when this production was staged, she was the same age as the queen she was portraying. Imperious at the outset, grey-haired and witch-like at the end as she renounces the throne in favour of James VI of Scotland—an even wilder departure from history—Devia’s Elizabeth is mesmerisingly well done. The chorus and orchestra under Francesco Lanzillotta are good. © 2017 Gramophone Read complete review on Gramophone

Joseph Newsome
Voix des Arts, November 2016

Under the baton of conductor Francesco Lanzillotta, the Teatro Carlo Felice choral and orchestral forces acquit themselves professionally and idiomatically. The opera’s programmatic Sinfonia, popularized in concert repertory by its quoting of ‘God Save the Queen,’ is buoyantly played by the orchestra and confidently paced by the conductor. With its extended melodic lines and quicksilver rhythms, Roberto Devereux is an opera that—in good performances, at least—sounds easier than it is for all of the musicians in the pit. …The balance between stage and pit achieved by Lanzillotta is commendable, …Granting the principals relative interpretive license, Lanzillotta maintains tighter control of the performance than many conductors who approach bel canto repertory with greater rigidity. Roberto Devereux is a momentous destination along the route from the quintessential bel canto of Bellini to the dramatic Romanticism of Verdi, but Lanzillotta is careful to avoid letting lyricism or bombast dominate this performance. The dominant force in this recording is Donizetti. © 2016 Voix des Arts Read complete review

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