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Robert J Farr
MusicWeb International, December 2017

This performance of the last of Donizetti’s Elisabethan trilogy, and his fifty-third operatic composition staged in 1837, is from the Teatro Carlo Felice Genoa. It was staged to showcase the sixty eight year old Mariella Devia as the queen. Mariella Devia built her international reputation at all the major operatic addresses in the lyric and coloratura repertoire and at this later age I would have doubted her capacity in the role she sings here, albeit she had sung the eponymous Norma in previous recent years. Contrary to my expectation, she is outstanding in her interpretation both as actress and singer. The other principals, particularly Sonia Ganassi as Sara, are all more than adequate if not internationally known. The simple staging and the intimacy of the theatre made for the clarity that often defeats the concept producers who confuse the audience with their endeavours. © 2017 MusicWeb International

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

Remy Franck
Pizzicato, January 2017

This production from Teatro Carlo Felice might musically not be the best one available, but there is no big deception either. The staging is historically correct and atmospheric, helping the music where it lacks expression. The best performance comes from Mariella Devia, 68, who is absolutely fascinating Elisabetta, a true queen! © 2017 Pizzicato

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