| ClassicsToday |
Les Huguenots "Best is Annalisa Raspagliosi's Valentine, sung with assurance and big, dramatic tone. " ROBERT LEVINE Read online review |
| Opera Today |
|
Les Contes d’Hoffmann "Raspagliosi has a most pleasant instrument with uniform vocal tone. She is a very expressive actress and her youthful good looks are well suited for the role of the helpless girl, Antonia. She sings with youthful elegance, her diminuendi are well executed, the high notes are effortless, and she uses chestnotes sparingly to emphasize the drama." DANIEL PARDO Read online review |
| Opera News Online |
| Simon Boccanegra "As Amelia, Annalisa Raspagliosi takes just the duration of "Come in quest'ora bruna" to locate voice and emotional connection. This difficult entrance aria often goes for nothing. In this 1857 version, the ravishing sea prelude is a thing of the future, and the climax of the piece and its cadenza are weaker than in the revision. But she does get tosing the cabaletta, and here the soprano immediately springs to life; while a cabaletta does feel a bit at odds with the more advanced style of this opera, Raspagliosi delivers it with requisite drive and determination. This is a major voice with a stunning top, a bit weak at the bottom of the register, without much of a chest voice, sometimes wanting in shading, but a voice to watch, well suited to early-to-middle Verdi." IRA SIFF |
Hong Kong Cultural Centre September 2008 Don Carlo |
|
4th ACT Tu che le vanità |
|
Gran Teatro La Fenice Venice
Concerto di Capodanno 2005 |
|
Giacomo Puccini: MADAMA BUTTERFLY Un bel dì vedremo |
|
Giuseppe Verdi: LA TRAVIATA Libiamo ne' lieti calici |
|
Macerata Opera 2004 Les Contes d’Hoffmann |
|
3rd ACT - EPILOGUE - Elle a fui, la tourterelle! |
|
3rd ACT - EPILOGUE - Enfin! Antonia! (Duetto Antonia, Hoffmann) |
|
