Mezzo-soprano Emily Righter, the main attraction as Angelina, does not disappoint. She was by far the most disciplined singer in this cast, handling the score's difficult runs without incident and landing the notes at both ends of a wide range.
The opera concludes with Angelina's aria of forgiveness, giving Righter's mellifluous voice the royal platform it deserves.Type your paragraph here.
- Tampa Bay Times
"Her comfort on stage is that of a seasoned actress, and she embodied the character's stature, rashness and ardour with ease. The voice is both responsive and centered with a ringing upper register, fine, accurate coloratura, and long breath and warmth for Bellini's legato lines."
- Robert Levine, Opera Now
"Her portrayal of the love/grieve -stricken Romeo, mesmerized, especially the spine chilling ending. Her voice sparkled with aching yearning and boiling passion."
- Elizabeth Andrews, Opera Now
"In what should surely prove a star-making engagement, Ms. Righter sang with rich tone, focus and agility, and assumed her character with a buoyant physicality and impetuousness."
- Steve Smith, New York Times
"Righter got her chance as Romeo because of the illness of featured mezzo Sandra Piques Eddy, and she came up trumps...she has a thrilling, ringing top. Her delivery is dramatic with hints of power to come- she is definitely a talent to watch."
- Globe and Mail
"Her Romeo was dashing, brave, boyish, sexy, and brilliant of voice...Combined with Ms. Coburn's affecting and wistful Giulietta, the adolescent tryst seemed authentic, setting innocent infatuation against realpolitik, love against hate."
- New York - The Sun
"Mezzo soprano Emily Righter, achieving dark and lovely tones hear with her smoky middle register, supplied a Romeo tender and completely taken with his Giulietta...Righter and Coburn combined to deliver a riveting and sensuous rendition of the love-under-pressure duet, " Si, fuggire: a noi non resta."
"She has a slender but darkly vibrant mezzo reminiscent of the younger Susanne Mentzer, with beautiful legato phrasing...this was a staggeringly poised and promising major role debut."
- Gay City News
"The most exciting performance of the whole weekend came from Emily Righter...showed remarkable poise and genuine gifts. A tall, attractive, convincingly ardent Romeo, she displayed a handsome, individual mezzo, good agility, unforced but elegant chest voice and stylistic confidence: someone to watch."
- The Boston Musical Intelligencer
"As the emperor's straight arrow friend Alessandro, she sang a fluent and moving version of the lament, 'Misero, cosi va.' "
- New York Post
"The eloquent mezzo Emily Grace Righter brought affecting pathos to the laments of Alessandro, the virtuous lover of Flavia."
- Wall Street Journal
"She brings a rich mezzo soprano voice and charming nobility to the male role of Alessandro."
- New York Times
"With a pure-toned mezzo Emily Grace Righter's legato phrasing was elegant, and Alessandro's anguished moment of awakening to reality and his powerlessness in the aria, 'Misero, cosi va', was beautifully handled."
- Opera Obsession
"As Alessandro, mezzo Emily Grace Righter sang with a pleasing heroic tone, making the tiny theater resound."
- Paperblog, Culture, Theatre, Opera
"Emily Grace Righter stood out for her impassioned, idiomatic delivery of the mezzo role of Alessandro. Her Act I lament 'Misero cosi va' was the musical highlight of the night. "
- Alex Ross, The New Yorker
"Emily Grace Righter brings a abounding mezzo voice and desirable nobleness to a masculine purpose of Alessandro."
- Worldwide News
"As the virtuous Alessandro, Emily Grace Righter emerged as the standout, with a gorgeously controlled mezzo soprano and emotive, physically adept presence to match."
- The Star-Ledger
"Emily Grace Righter, as the heroic Alessandro, had a mezzo soprano voice of stunning richness, along with a confient stage manor that was endearing and persuasively masculine." Three Penny Review "
As Alessandro, Emily Grace Righter almost walked away with the evening, her plummy mezzo conveying her character's anguish and conviction, and as the opera's voice of morality..."
- Stephen Ender, der Standard
"Cherubino was cast perfectly with Emily Righter."
"Karolina Plickvova as Clorinda and Emily Righter as Tisbe are theatrically convincing as spirited bitchy actresses and vocally with technical sovereignty and sonic brilliance."
"The musical highlight of the evening were the bad sisters Karolina Plickvova and Emily Righter. With a lot of histrionic wit, Emily Righter shone with an expressive and clear mezzo soprano."
- Diana Rossberg, Operapoint
"The Rossini rocket really starts with Karolina Plickvova (Clorinda) and Emily Righter (Tisbe): The playing and singing make you want to shout."
- Kronen Zeitung
"The key word charm, Emily Righter as the flirtatious Olga..."
- Berchtesgadener Anzeigen
"Emily Righter able to delight you with her effortless, agile soprano in the role of Olga."
- Siegfried Steinkogler/ Dorf Zeitung
"Her sister, Olga shows at Emily Righter beautiful, lyrical abschattierte moments of restrained life facing awareness."
- Salzburger Nachricten
Turn of The Screw - Spoleto Festival, Italy
"Leonardo Capalbo (Quint) was insinuating and incisive as his submissive lover, Emily Righter (Miss Jessel)."
- John Gavazzeni, il Giornale.it
"The singers were quite good...quite effective were Hana Schaer (Mrs. Grose) and Emily Righter (Miss Jessel)."
- Giuseppe Pennisi, Patrikpen
"The seven vocalists not only offer impeccable vocal performances, they recite a show of first class prose."
- Mauro Mariani, giornaledellamusica.it
"By the violence of their raid, the two ghosts, Leonardo Capalbo and Emily Righter, startled the children and adults.
They both used their physical and vocal beauty to corrupt them."
- Dino Villatino, la Repubblica
Pilgrims of Mecca - Salzburger Landestheater
"Emily Righter was a seductive Dardane with bell-like soprano gloss."
- Reichenhaller Tagblatt
"Emily Righter (Jacqueline), with her great voice, was another highlight."
- Heide-Maria Muller, Dorf Zeitung
"Among those singing smaller roles, the standouts were Emily Righter (Flora)..."
"Emily Grace Righter sang splendidly and cut a winning figure as Amenofi."
- Classical Review
"Emily Grace Righter sang and acted with concentrated elegance."
- Opera News
"Memorable in her big number after intermission was mezzo soprano Emily Righter as Amenofi."
- Edge New York
"Mezzo Emily Grace Righter sang her small role as Amenofi so well that we are eager to hear more of her."
- Meche Kroop
"Emily Grace Righter sounded warm and lyrical in the supporting role of Amenofi."
- New York Post
Prelude to Performance
"Emily Righter, master of the Carmen flounce with a rich, dramatic voice."
"Righter takes it as an opportunity to raise high her arms and hands, and move always with a dance in her step. Her fickle, dangerous choices in men become immediately apparent, as she moves an amorous gaze from officer to mere solider and then on to a glamorous matador. She is of a piece and her voice is consistently infused with passion and defiance."
- Susan Hall, Berkshire Fine Arts
"Emily Righter as Clominri, is a young, new voice, clear and expressive in Forte."
- Oliver Hohlbach, OperaPoint
"...while some of the best singing actually came from Emily Righter in a minor role of Ines."
"Both vocalists impressed with the richness and gravity of their interpretations. The strikingly statuesque Righter...her voice has a remarkably burnished, almost tragic lustre, and she seemed to go deeper emotionally then anyone else on stage...the voices of these two did blend exquisitely in purely musical terms, their timbres mapped memorably to the kind of evocative equilibrium Alessandrini seemed to be seeking."
- Thomas Garvey, The Hub Review
"Righter's rich full voice audibly relished such theatricality...These are young singers with young voices and ample potential, and if they keep singing along side such estimable company, there is much to look forward to. "
- Andrew Sammut, The Boston Musical Intelligencer
"Emily Righter brought uncommon vocal gleam as well as flexibility and a stark emotional connection to the text. Righter's dark, refulgent tone was most affecting in Quis non posset contristari. Both singers gracefully handled the leaping coloratura of Fac, ut ardeat cor meum and rose to the impassioned spiritual elevation of Sancta Mater with full dedication. The penultimate section, Inflammatus et accentus went with immense spirit and lift and the concluding Quando corpus morietur made the plaintive, touching return to the elegiac opening."
- Lawrence A. Johnson, The Classical Review