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Eric Myers
Opera News, April 2017

Eva-Maria Westbroek is convincingly agonized as Santuzza, and her current voice and style (learned at the feet of verismo-era diva Iris Adami Corradetti) are well-suited to this repertoire. …Martina Belli’s Lola is quite possibly the sexiest you’ll ever see, with a smoky mezzo to match.

Antonio Pappano conducts with a fine feeling for verismo and a clear respect for this often-maligned genre. © 2017 Opera News Read complete review

Alexander Campbell, January 2017

Antonio Pappano, as ever singer-friendly and theatrically alert, provides sure-footed tempos and relishes the verismo idiom perfectly; the Orchestra of the Royal Opera House responds superbly and with lavish care. © 2017 Read complete review

Richard Sininger
American Record Guide, January 2017

The chorus and orchestra of the Royal Opera sing and play expertly for their director, Antonio Pappano. In the two leading tenor roles, Aleksandrs Antonenko, although sometimes a bit tight on top, sings with great power and portrays the character fully and convincingly. As Santuzza, Eva-Maria Westbroek makes a sympathetic heroine and sings very well, actually better than her Met Santuzza of a couple of years ago. The baritone Dimitri Platanias brings a big, beefy voice (and body) to the roles of Alfio and Tonio, both of which he embodies completely. The petite soprano Carmen Giannattasio seems an ideal Nedda, both vocally and dramatically. Perhaps most impressive is the apparently ageless Elena Zilio (whom I first saw in Chicago in 1974) in a deeply-felt portrayal of Mamma Lucia. All the other roles are well taken. © 2017 American Record Guide Read complete review on American Record Guide

Gavin Engelbrecht
The Northern Echo, December 2016

These two short Italian operas are brought together in a new staging by award-winning director Damiano Michieletto, who sets both works in a poverty-stricken village in 1980s southern Italy, where the Mafia has a hold. The Royal Opera’s Music Director Antonio Pappano conducts a cast that includes Dutch soprano Eva-Maria Westbroek, Italian soprano Carmen Giannattasio and the Latvian tenor Aleksandrs Antonenko. Visceral performances that make for compelling viewing. © 2016 The Northern Echo

Hugo Shirley
Gramophone, December 2016

Antonio Pappano conducts with customary passion and warmth, and the cast is very decent, too, with Carmen Giannattasio’s frustrated Nedda especially vivid. Dimitri Platanias doesn’t seem to be in his best voice but is a powerful presence in both dramas as Alfio and Tonio. Eva-Maria Westbroek performs with a moving honesty as Santuzza, even though her soprano tends towards stridency when you want it to fill out with Mediterranean warmth. The linchpin is Aleksandrs Antonenko, singing both Turiddù and Canio with power and focus, if again without quite the ideal warmth in terms of colour. © 2016 Gramophone Read complete review on Gramophone

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