Opera Reviews

“Joyce DiDonato’s performance as Donizetti’s Mary Queen of Scots leaves one bereft of adequate superlatives . . . bel canto of this quality has not been heard at Covent Garden for more than a generation and that on the strength of this night alone, her name should rank in the operatic pantheon alongside the greatest legends of the past.”

– Rupert Christiansen, The Telegraph

“Best of 2017” Highlights

The Guardian – 10 Best Performances

Semiramide: Royal Opera House
Grand opera in grand style, with the grandest of divas, Joyce DiDonato.

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Joyce DiDonato “fiery and sensuous” as Semiramide at the Royal Opera House

“DiDonato inhabits the role of the doomed Queen Semiramide with an ease and a generosity towards her fellow performers that looks likely to set a benchmark for future productions.”

William Ward – The Arts Desk

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“DiDonato provides the sparks” in new ‘Norma’ at The Met

“Her partner for many of those duets was Joyce DiDonato, whose performance as the romantic rival Adalgisa provided yet more evidence–as if we needed any–of her status as a supreme bel canto stylist. Her technique as firm as bedrock, she built a gripping character on her fiery vocal interpretation. Her confession to Norma in the Act I duet “Sola, furtiva al tempio” showed palpable sorrow, and a special urgency, as she sang every word as though it were the most important in the libretto.”

Eric C. Simpson – New York Classical Review

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Les Troyens / Orchestre Philharmonique de Strasbourg

“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

La clemenza di Tito, Festspielhaus Baden-Baden

“What a Sesto: Joyce DiDonato is an exceptional mezzo soprano: just as sensitive as it is moving, she crafts her arias with both variation and spritely coloratura.”

Alexander Dick – Badische Zeitung

“As Sesto, Joyce DiDonato brought a fresh interpretation to the role, in respect to both her musicality and interpretation….her Sesto was believable with both vocal commitment and commitment to the character, and her voice followed her intentions with aplomb down to the last detail. As with the other singers, the recitatives were full of life, either introspective, or interactive with the other singers, thereby contributing to the overall drama of the evening.  Her two important arias, ” Parto, parto, ma tu ben mio” in Act I and  “Deh per questo instante solo”  in Act II, were clearly well thought out, and were greeted with a standing ovation from the audience.”

Michel Thomé – ResMusica (translated from the original in French)

Joyce DiDonato “wowed” at Metropolitan Opera 50th Anniversary Gala at Lincoln Center

“Joyce DiDonato wowed with endless coloratura fireworks as Semiramide …”

Ilana Walder-Biesanz – Opera-Online

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“A long and luminous evening of opera lives up to expectations” – ‘Ariodante’ at The Kennedy Center

The Washington Post
by Anne Midgette
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“It was supposed to be one of the highlights of the classical season — and it actually was. Whatever it takes to create a sense of event and excitement was in the Kennedy Center Concert Hall on Tuesday night for the star turn of mezzo-soprano Joyce DiDonato in Handel’s “Ariodante.”

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DiDonato leads an inspired cast in sensational “Ariodante” at Carnegie

New York Classical Review
by Eric C. Simpson
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The renaissance of baroque opera in America shows no signs of slowing down: Carnegie Hall on Sunday afternoon saw a sold-out performance of a four-hour Handel opera, in which Harry Bicket’s English Concert and Joyce DiDonato gave a performance so stunning it was liable to make even the most jaded of early-music skeptics take note …

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Review: Joyce DiDonato Is Wrenching in Handel’s ‘Ariodante’

The New York Times
by Anthony Tommasini
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In the middle of Handel’s “Ariodante,” the title character makes an uncomfortably convincing case for suicide. On Sunday, the mezzo-soprano Joyce DiDonato, singing the role in a concert performance of the opera with the conductor Harry Bicket and his English Concert chamber orchestra, held Carnegie Hall’s audience in thrall for nearly nine minutes as she wrung every bit of emotion from this music.

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Mira, Norma .... and the rest of you, as well!! ;-) https://t.co/127fJ4qHiG

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GREAT SCOTT! OUT NOW: an epic new piece by Jake Heggie and Terrence McNally, celebrating the world of Opera in gran… https://t.co/9phQH0xkun

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There will always be more freedom to acquire and more truth to uncover.

~ Joyce DiDonato