Sep 7, 2018 | Concert Reviews | Press | No Comments
“The centrepiece of the programme was a complementary pair of death scenes featuring Cleopatra and Dido, sung by Joyce DiDonato. In this vast hall it is arguable that a larger voice is needed to rise to the tragic immensity of these utterances, but the ardour of her singing brought every word to life. La mort de Cléopâtre, with its shuddering end as the asp’s poison takes effect, took musical effects to the extreme. In Dido’s last aria from Les Troyens DiDonato and Gardiner combined to achieve an electric sensitivity.”
Jun 17, 2018 | Concert Reviews | Press | No Comments
by Jenny Camilleri
“[DiDonato] performed the desperate “Scherza infida”, with gorgeous bassoon tears, and the vengeance cry “Svegliatevi nel core” as one scene, without applause in-between. Limbs atremble, she was a mass of impotent rage, varying the repeated sections of the arias with expressive simplicity. In an equally intense “Parto, parto” by Mozart, DiDonato crowned a fabulous duet with Julien Hervé on the basset clarinet with dazzling coloratura.
Jun 6, 2018 | Concert Reviews | Press | No Comments
“Joyce DiDonato manifested once again how easily her voice adheres to various eras and manipulations and techniques, clinging as naturally to both classical German arias and voice-bending Ravel as sugary glaze sticks to pastry.
It was another reminder that DiDonato is not a star in opera – but the star.”
Apr 19, 2018 | Concert Reviews | Press | No Comments
Santa Barbara Independent
by Charles Donelan
Two things became clear on the whirlwind tour through multiple languages, countries, and centuries that was Joyce DiDonato’s recital program at the Granada on Sunday, April 15: This woman loves to sing, and she loves singers. The evening’s eclecticism remained firmly grounded throughout in the deep connection that DiDonato feels for students of voice. From the opening strains of Pablo Luna’s lovelorn celebration of Spanish identity, “De España vengo,” to the rambunctious embellishments of Arie Antiche’s musical education standards as arranged by pianist Craig Terry, everything on the program seemed designed to appeal to an audience familiar with the arduous, at times heartbreaking journey of a classically trained vocalist.
Feb 22, 2018 | Concert Reviews | Opera Reviews | Press | No Comments
“With a line-up of such first-class singers, vocal delivery was consistently excellent. Joyce DiDonato, reprising the role of Sister Helen, displayed a magnificent range of emotions, capturing frustration, piety, simplicity, anger and, above all, humanity.”
Dec 20, 2017 | Concert Reviews | Press | No Comments
“The power of a diva at the top of her game is an impressive thing. Joyce DiDonato has sold out the Wigmore Hall twice this week, which may not seem surprising except that she is doing it with a programme that is far from populist… Even more impressive is the intelligence and boldness with which she deploys it.”
Richard Morrison – The Times
Oct 30, 2017 | Concert Reviews | Press | No Comments
“The appearance of Joyce DiDonato, combined with her important political message was an absolute highlight.”
Read the entire article on Billboard.
Aug 1, 2017 | Concert Reviews | News | Opera Reviews | Press | No Comments
“Joyce DiDonato arrived as Didon in Act III looking every inch the queen of Carthage, acknowledging her people with straight backed authority without losing a delicate feminine sadness over her solitude. Her blossoming relationship with the Énée of tenor Michael Spyres brought a duet of overwhelming sensuality … Just when “reserved” and “elegant” seemed apt words to describe DiDonato, the mezzo seized on the drama of the final act to unfurl a torrent of lustrous tone and unbridled commitment to set her performance of the Carthaginian queen beside the great interpreters of the role.”
Stephen J. Mudge – Opera News
Jul 23, 2017 | Concert Reviews | Press | No Comments
by David Shengold
“Ariodante on Carnegie Hall’s main stage on April 30featured a soaring, energized Joyce DiDonato and a uniformly strong cast under Harry Bicket’s expert direction. Listening to the thunderous ovations during and after the opera, one hoped that the managements of New York’s two leading opera companies would see from the wild success of Bicket’s local appearances with his English Concert that Handel has not only superb exponents these days but a highly motivated public who will travel and buy seats to hear his works.
The English Concert is just terrific—a fleet and accurate Baroque ensemble fully responsive here to the vocalism they supported. Bicket led from the harpsichord, which he played with great conviction. All the continuo players performed admirably; but one leaves Ariodante remembering the bassoon, and Alberto Grazzi handled his portion of the stop-time miracle of “Scherza infida” as deftly and expressively as did DiDonato, who blended bitterly enunciated consonants with seemingly endless breath support and legato ease. The mezzo sounded in peak form from her first mellow arioso, “Qui d’amor,” and gave a generous, deeply chiseled and resonantly projected reading of one of her great assumptions. For such heartfelt artistry and beauty of tone in such technically and psychologically remarkable music, what could one offer but grateful smiles (with a healthy admixture of tears)?”