“It’s the singers who matter, however, and nobody will be disappointed in Joyce DiDonato, singing the title-role with all the gleaming tone, pellucid projection and smiling warmth for which she is justly celebrated.”

~ Rupert Christiansen The Telegraph July 2011

Bill Cooper, Royal Opera House

“Cendrillon (or Lucette as she is properly known) is sung by mezzo of the moment, Joyce DiDonato, who also starred in the production’s Santa Fe outing. And star quality just about describes her performance here; in her initial appearance, she shaded her voice perfectly, instantly conveying Lucette’s sadness in just a few phrases, but without it becoming anything sugary. She produced exquisite pianissimos all evening, the rapt audience utterly entranced, while able to pull out the stops in Act III as she the aftermath of the ball hits her. There are precious few opportunities for the coloratura fireworks Rossini gives to Cenerentola/ Angelina; Lucette’s music is anything but flashy, but it’s understated and sincere, portraying her innate ‘goodness’, and DiDonato gets this spot on.”

~ Mark Pullinger Opera Britannia July 2011

“All the more impressive is Cendrillon’s dowdy dress and cardigan, which seem to express not only her downtrodden state, but also her tastefulness by contrast with her sisters … Everything about the central figure is illuminated by the stunning presence of Joyce DiDonato, who seems to have no limits to her capacity for expression through gesture and movement, while her fabulous vocal powers were only tested in a couple of high quiet notes. The most remarkable quality of this artist of genius may be the naturalness with which she does everything. I’m not sure that I have ever seen and heard a star before whose star quality is so paradoxically restrained.”

~ The UK Spectator July 2011

“The highest concentration of pith comes with the love music, which sounds especially glorious as sung by the Cendrillon of Joyce DiDonato and the Prince Charming of Alice Coote. At the performance I attended on Saturday evening, it was announced that Ms. DiDonato was suffering from a cold but would go on anyway. She sang generously, and if the voice occasionally lacked its full measure of luster, her performance was thoroughly enchanting. She won sympathy for the girl’s plight at once, and her exquisite articulation of the repeated phrase “Vous êtes mon Prince Charmant” in the first love duet — surely the opera’s most ravishing moments — was flawless.”

©Bill Cooper, Royal Opera House

~ George Loomis NY TIMES July 2011

“Joyce DiDonato is an appealing and sympathetic Lucette, perfectly adjusting her vocal palette to match the very varied musical moods of Massenet’s music. She catches the doleful and anxious sides of the girl as well as her moments of happiness and elation. Her expressive facial features and strong presence help too. A treasurable performance.”

~ Alexander Campbell The Classical Source July 2011

“As for Joyce DiDonato, this deservedly popular Kansas-born “Yankeediva” exudes intelligence and artistry in every nuance. One regret is that her sense of fun, dazzlingly displayed in her hallmark role of Rosina in Rossini’s Il barbiere di Siviglia, has no outlet here. Cendrillon is gentle, serious and love-struck, with some deliciously high, floating lines which had DiDonato at her pianissimo best.”

~ Fiona Maddocks The Observer July 2011

“Joyce DiDonato’s Cendrillon showed once again why she holds her status as one of the world’s leading mezzos. Massenet’s graceful lines were carefully and cleanly voiced, with the singer’s every vocal and physical gesture perfectly articulated to define the character’s personality and dilemmas.”

~ George Hall Opera News September 2011