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Patrick Dillon
Opera News, March 2017

The two comic bass-baritones, Lorenzo Regazzo as the genial Tarabotto and Tiziano Bracci as the forever-foiled Batone, are delightful. When these two, at cross purposes, schmooze, they’re a pair of pros strutting their well-seasoned stage savvy. It’s pure pleasure. Antonino Fogliani, in the pit, is another pro, and the fine Virtuosi Brunensis are accorded a better, clearer acoustic than the overresonant singers… © 2017 Opera News Read complete review

Bill White
Fanfare, January 2017

…Dalla Benetta exhibits her easy mastery of Rossinian coloratura and brings her fine acting skills to bear on the once rejected and castaway duchess, now a modest village woman.

The other two bass-baritone roles are also sung well: Ormondo, the duke’s lieutenant and villain of the piece, by Baurzhan Anderzhanov with a richly, dark hued timbre, and Batone, Ormondo’s underling, by Tiziano Bracci, the one true buffo bass in the bunch. Sweet-voiced tenor Artavazd Sargsyan is no deft hand at Rossinian fioratura, but luckily has little of it in his role as the duke, Bertrando. Music director Antonio Fogliani leads Virtuosi Brunenses in a spirited, if not always perfectly flawless performance of Rossini’s score. © 2017 Fanfare Read complete review

Richard Sininger
American Record Guide, November 2016

The cast in this performance is not well known, but the Rossini in Wildbad Festival seems to come up with singers who are masters of the style. The tenor Artavazd Sargsyan, whose voice seems a bit small, has the range and flexibiliy for the Rossini hero. As the hapless Batone, Tiziano Bracci contributes a fine basso buffo sound and excellent comic timing. Baritone Baurzhan Anderzhanov makes a believable villain and sings acceptably.

Best of all are the two most sympathetic characters—Isabella, the wronged wife, and Tarabotto, her savior and father figure whose combination of kindness and intelligence make him just about an ideal person. Silvia Dalla Benetta brings out the several facets of Isabella’s character—her fear, her caution, her confidence, and her love. She has a fine lyric-coloratura soprano just right for the role. As Tarabotto, Lorenzo Regazzo nearly steals the show. His is not a great voice, but he uses it and his excellent acting skills to create a totally lovable man who would go to any lengths to secure the happiness of his “niece”. Just watching his performance is a treat; it’s the work of a real theatrical artist.

The production is updated with modern costumes and a car. It’s all very clever and well done, a good job by director Jochen Schönleber. The orchestra looks happy and plays well under Antonino Fogliani. © 2016 American Record Guide Read complete review on American Record Guide

Richard Kraus
MusicWeb International, September 2016

The dramatic and musical center of the opera is Lorenzo Regazzo as the miner, Tarabatto. Regazzo is a wonderful singer, and his scheming calls to mind the Figaro who lay in Rossini’s future.

Tiziano Bracci is also excellent as the henchman, Batone. Rossini gives him a show-off aria plus a buffo duet with Regazzo. Other musical highlights include the Trio of Duke, Duchess and Tarabatto at the middle of the opera, and the sweet nocturne which opens the final ensemble. © 2016 MusicWeb International Read complete review

Christie Grimstad, August 2016

Silvia Dalla Benetta sings her role in the finest of fashion, expressing her solemnity with a wholesome approach: the voice is earthy, and she possesses great breath control that ultimately allows her to reach gyrating notes with exceptional ease. A bit brassy on the top, Dalla Benetta stylizes her crescendos and decrescendos with great acuity which is very prominent in her aria, “Al più dolce e caro oggetto.” © 2016 Read complete review

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