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Richard Osborne
Gramophone, December 2018

With its period setting and naturalistic style, Peter Hall’s classic 2005 staging catches the darkness of the opera, yet such is the production’s truthfulness to character and detail, the lights shine out all the more brightly when the web is finally untangled and goodness prevails. © 2018 Gramophone

Barry Brenesal
Fanfare, March 2007

I will single out only Ruxandra Donose for praise. Hers is a dusky mezzo, even in coloration, volume, and support across the registers. The voice is able to handle exacting coloratura without any aspiration or evidence of strain. Her forthright, focused attack in her final aria (“Non più mesta”) brought memories of Marilyn Horne in the 1970s…

Jurowski is incisive, and alert to his singers’ needs. …This production of La cenerentola was a good one for Rossini, and the audience agreed. © 2007 Fanfare Read complete review

The New Recordings, Cliffs Classics, October 2006

This is a fresh and vibrant but timelessly elegant production - in surround-sound and filmed in high-definiton - of the much- loved Cinderella story. Stage settings are sumptuous, and the entire performance worthy of nothing but the highest praise. In most of his light-hearted operas, Rossini employed a successful formula consisting of rapid-fire 'parlando' arias, alternating with bel canto arias and duets of heartwarming beauty. Such was Rossini's success, that he became financially independent and was able to take early retirement, after which he composed very little.

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