The New York Times
"“The Hours” is still worth seeing for its formidable cast—above all, for Joyce DiDonato. The increasingly incomparable mezzo-soprano delivers an astonishing physical impersonation of Woolf, her body language hunched, flinching, {…}
Operawire
"Joyce DiDonato is already an expert in this repertoire and offered a definitive performance. Her breath control is such that Handel’s melodic lines unspool like the finest velvet. The standout {…}
"The title, the plot, and the posters all place Joyce DiDonato’s character at the heart of the opera, and the mezzo-soprano is, as always, a star — majestically devious, irresistibly {…}
"…to have DiDonato on hand, a Marguerite of marvellous elegance and vulnerability, close to delirium in her last scene, an emotion the whole audience could partake in when it was {…}
"Most brilliant of all was mezzo Joyce DiDonato as the anguished Sesto. She daringly imposed vast contrasts of volume and tempo upon the most famous aria from this score, “Parto, {…}
„Es war zweifelsohne der große Abend der Joyce Didonato, die am Sonntag erstmals an der Staatsoper eine Premiere sang und gleichzeitig ihr persönliches Debüt als Didon in Hector Berlioz’ letzter {…}