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Erin Heisel
American Record Guide, September 2016

Feola has a silvery, clear voice and excellent phrasing. Burnside is, as expected, golden. © 2016 American Record Guide Read complete review on American Record Guide

David Cutler
Fanfare, July 2016

What a fine Italianate lyrical soprano Rosa Feola is, with a lovely voice to match! © 2016 Fanfare Read complete review

Richard Fairman
Gramophone, March 2016

…this disc offers a programme solely of songs, all in Italian. The two groups by Respighi are typical of the minor treasures to be found among this neglected song composer’s legacy. His Quattro Rispetti toscani, sophisticated settings of four folk-like poems, show off the light, bel canto beauty of Feola’s soprano. The five Deità silvane (‘Woodland Deities’), set in an Arcadian landscape of rustling forests and abandoned classical gardens, open the door to a world half lit by French Impressionism. Iain Burnside ripples with cool precision through accompaniments that might have been drawn from Debussy’s Préludes and Feola matches him in the gentle, flickering lights in her voice. © 2016 Gramophone Read complete review on Gramophone

Robert Hugill
Planet Hugill, February 2016

This is a fascinating and slightly surprising recital, with a number of gems of which I had been hitherto unaware. Rosa Feola brings a lovely speaking tone and sense of the words to these lyrical songs, and throughout she is finely supported by pianist Iain Burnside. © 2016 Planet Hugill Read complete review

David Denton
David's Review Corner, February 2016

Introducing on disc the young Italian, Rosa Feola, one of the most outstanding sopranos to have emerged in recent years, her adventurous programme welcome. It is largely devoted to two groups of songs by Ottorino Respighi, his texts mostly speaking of rural life, Quattro rispetti toscani (Four Tuscan Love Songs), ending with a song depicting love in the farmyard. Deita silvane (Woodland deities) offers five nature scenes from the fauns by the babbling brooks through to Crepuscolo (Twilight). His musical language is a little more robust than you might expect from such titles, and does at times require the singer to go high in her register, much being floated, and deally suited to Feola, who makes them particularly appealing. With unusual amount for solo keyboard, the Liszt work is much better known as part of the solo piano score for the Second Year of Annes de Pelerinage, the words of the three songs talking about love and tears, and often in a tormented way. The three central works are quite short, the ‘unknown’ name being Ciro Pinsuti, an Italian by birth who lived much of his life in England during the mid 19th century. He was there to take up a post as a voice coach at London’s Royal Academy of Music, and at the same time was writing songs to English texts, though here he uses the same Italian words as Ponchielli,, and which come from Alighieri’s poem, Tanto gentile e tanto onesta pare (My lady looks so gentle and so pure). Feola has the great good fortune of having Iain Burnside as her accompanist, his ability to shape and shade music being outstanding. She also has the added benefit of a British recording team that brings air around her voice. © 2016 David’s Review Corner

Andrew Clements
The Guardian, January 2016

…[Rosa Feola’s] singing is marked by poise and eloquence, and she spins out seamless phrases with unflagging care for the words, whether in Respighi’s Tuscan songs, Martucci’s more expansive Tre Pezzi, or parallel Dante settings by Ponchielli and Pinsuti. © 2016 The Guardian Read complete review

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