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THEATER MAGDEBURG Auntie, Peter Grimes
Neue Musik Zeitung Lucia Cervoni ist eine durchtriebene, stimmlich erstklassige Auntie. Lucia Cervoni is a sly , vocally first class Auntie. THEATER MAGDEBURG Auntie, Peter Grimes
Der Opern Freund Gesellschaft das kleinen Badeortes nimmt die Kneipenwirtin Auntie ein, der Lucia Cervoni mit charaktervollem Mezzo Profil gab. A decisive place in the society of the English seaside resort is occupied by the pub owner Auntie, Lucia Cervoni who gave a characterful mezzo profile.
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LONGBOROUGH FESTIVAL OPERA Penelope, Il Ritorno d'Ulisse in patria
The Times UK
Lucia Cervoni's heartbroken Penelope is a picture of noble virtue, steadfast as temptations whirl around her...
The Times UK
Lucia Cervoni's heartbroken Penelope is a picture of noble virtue, steadfast as temptations whirl around her...
LONGBOROUGH FESTIVAL OPERA Penelope, Il Ritorno d'Ulisse in patria
Plays To See
...matched perfectly by Lucia Cervoni as the virtuous, intensely troubled, and strong Penelope.
As Penelope, Canadian mezzo Lucia Cervoni gave a compelling, indelible performance both vocally and emotionally. I would love to hear Cervoni in many other roles, her voice is so strong, rich and lovely. I want to hear her Handel or Mozart, her Verdi, maybe one day her Wagner or Strauss. There is something honey-like about her timbre and also her delivery is continuously expressive.
Plays To See
...matched perfectly by Lucia Cervoni as the virtuous, intensely troubled, and strong Penelope.
As Penelope, Canadian mezzo Lucia Cervoni gave a compelling, indelible performance both vocally and emotionally. I would love to hear Cervoni in many other roles, her voice is so strong, rich and lovely. I want to hear her Handel or Mozart, her Verdi, maybe one day her Wagner or Strauss. There is something honey-like about her timbre and also her delivery is continuously expressive.
LONGBOROUGH FESTIVAL OPERA Penelope, Il Ritorno d'Ulisse in patria
The Arts Desk Cervoni commanded sympathy from the outset and continually drew the audience to her, with singing that could swing on an instant from raw pain to tender longing, but which was at its most powerful as she wrestled, visibly, with her oscillating emotions. |
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LONGBOROUGH FESTIVAL OPERA Penelope, Il Ritorno d'Ulisse in patria
The Stage ...while Lucia Cervoni's vulnerable Penelope is richly and pliantly voiced... |
WELSH NATIONAL OPERA Fox, The Cunning Little Vixen
Art Scene in Wales
...and the Fox (Lucia Cervoni, delivering one of the most outstanding vocal performances in this production)
Art Scene in Wales
...and the Fox (Lucia Cervoni, delivering one of the most outstanding vocal performances in this production)
WELSH NATIONAL OPERA Fox, The Cunning Little Vixen
Get the Chance
Her crystalline voice combines beautifully with the seductive one of Lucia Cervoni, as the Fox, making for stunning duets.
Get the Chance
Her crystalline voice combines beautifully with the seductive one of Lucia Cervoni, as the Fox, making for stunning duets.
WELSH NATIONAL OPERA Fox, The Cunning Little Vixen
The Arts Desk
Sharp-Ears (the marvellous Aoife Miskelly, beautifully partnered by Lucia Cervoni’s Fox) embodies the irrepressible spirit of nature.
The Arts Desk
Sharp-Ears (the marvellous Aoife Miskelly, beautifully partnered by Lucia Cervoni’s Fox) embodies the irrepressible spirit of nature.
WELSH NATIONAL OPERA Fox, The Cunning Little Vixen
Seen & Heard International
...while Lucia Cervoni gave a nicely detailed performance as the Vixen’s husband.
Seen & Heard International
...while Lucia Cervoni gave a nicely detailed performance as the Vixen’s husband.
WELSH NATIONAL OPERA Fox, The Cunning Little Vixen
The Arts Desk
...Lucia Cervoni a smooth, stately soprano fox, the sort you might (unwisely) trust with your chickens.
The Arts Desk
...Lucia Cervoni a smooth, stately soprano fox, the sort you might (unwisely) trust with your chickens.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Opera Magazine (August 2019)
Lucia Cervoni’s portrait of Sister Helen was richly characterized, her voice embracing the whole gamut of emotions from initial doubt to the ultimate shining conviction that De Rocher – in admitting his guilt and expressing regret – could go to this death absolved in the eyes of God.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Operawire
Cervoni’s portrayal was superbly crafted; her journey from a naïve nun, teaching young children, to dealing with a cold-blooded killer was detailed, nuanced and emotionally complex. Positive, optimistic, but without experience in such matters, she comes under intense pressure from every quarter, including De Rocher who keeps lying to her and pushing her away, but eventually emerges stronger, with her faith in God intact. It was an excellent performance that captured the emotional roller-coaster of the role.
Vocally, Cervoni was perfectly suited to the role. Her singing was securely grounded, agile and characterized by clear articulation, so that every word could be easily understood, and despite her, at times, emotionally fraught state her singing was also attractively rendered. Moreover, her phrasing was subtle and detailed so that her inner turmoil, her shifting emotions, her hopes and fears, disappointments and belief in God were made evident, and made her relationship with De Rocher believable.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
The Sprout
Sister Helen is played by Lucia Cervoni, in a demanding role, on stage for most of the show. I feel she really absorbed the role and truly understood the dense contradictions within. She conveys the faith of the role well with a soaring voice, made special at the very end of the piece. A gospel song sung by children is heard throughout the opera, but to hear Cervoni sing this a-cappella in a powerful reprisal ends the show with a shudder down the spine.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
The Times
Are the victims in all this forgotten? It’s a question that Lucia Cervoni’s passionate Sister Helen grapples with, and which is a more than valid concern.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Morning Star
Led by Lucia Cervoni as Sister Helen and Morgan Smith as convicted killer Joseph De Roche, the whole ensemble are stunning.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
The Times
Sister Helen (Lucia Cervoni) and Joe (Morgan Smith) make potent, sensitive protagonists,...
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Cardiff Times
With a blend of powerful and gentle music all vocal performances were equally stunning, outstanding performances were given by Lucia Cervoni, Morgan Smith, who played Sister Helen Prejean and Joseph De Rocher. Both gave performances full of passion and conviction.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Seen and Heard International
There were a number of very powerful individual performances. Canadian mezzo Lucia Cervoni was in fine voice as Sister Helen. She convincingly presented the character’s determination to confront Joseph and to put before him a human face embodying God’s love of ‘his children’.
Mazzoleni Songmasters Concert‚ Toronto
operaramblings.blog
'Lucia’s other contribution to the first part of the show was Mercure’s Dissidences; Trois mélodies sur des poèmes de Gabriel Charpentier. The songs place quite different demands on the singer; somewhat frenetic in Les lions jaunes hurlent dans le sable‚ long lyrical lines in Psaume: Le dégaut des chose parfumées et faciles and a need for real power (that we got) in Le cri de joie....
After the break Lucia gave us Mahler’s Fünf Rückert-lieder. This was very fine singer with a wide emotional range. Ich atmet’ einen Linden Duff was lovely and lyrical and the rendering of the great Um Mitternacht literally hair raising (or at least my neck thought so). '
AIDA Amneris, Aida
OPERNGLAS
‘Lucia cervoni als Amneris betört dabei mit nuanciertem‚ dunkel schattiertem‚ schon präzise flutendem Mezzo‚ der Derkadenz und Laszivität verströmt. ...ging die y ihrem traurigen Höhepunkt mit der bestechenden Leistund der kanadischen Mezzos als dramatischauthentische aussingender Amneris letztlich dennoch absolut zufriedenstellend ihrem Ende entgegen /// Lucia Cervoni as Amneris beguiles with nuanced‚ darkly shaded‚ beautifully precisely flowing Mezzo‚ which exudes the cadence and lasciviousness. ... the tragedy finally ended its sad climax with the captivating performance of the Canadian mezzo as a dramatically authentic outgoing Amneris'
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
OPERA MAGAZINE
Lucia Cervoni’s Octavian is naïve and impetuous but genuinely devoted; her mezzo is wonderfully firm and clean‚ full of youthful freshness. Handsome in a red-trimmed grey frock‚ Octavian bursts with an adolescent swagger - collar turned up‚ sword stabbing the floor between his legs - which is softened by Cervoni’s warm lyricism.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
WHATS ON STAGE
The Canadian Lucia Cervoni sang the great trouser role of Octavian with tonal beauty and an impressive palette of mezzo colours, and she allied these to an irresistible physical performance, both funny and endearing, as the loved-up teenage aristo.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE SUNDAY TIMES
...the soprano role of Octavian is sung by a mezzo, the Canadian Lucia Cervoni, who ought to be better known here. This was my sixth Rosenkavalier this season, and I can’t think of one in which the female trio was more evenly balanced, or blended as well in the many duets and trios.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
CRITICS CIRCLE
The trio of sopranos – Evans and Louise Alder (Sophie) with mezzo Cervoni – pulled out all the stops: what a team. Evans disappears for much of the show‚ but still managed to dominate proceedings. Cervoni started good and got better in the trouser-role that turns into a frock-and-pinny one before re-breeching‚ if you see what I mean. Her scordatura ‘Mariandel’ went down a treat.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE TIMES
...while Lucia Cervoni’s Octavian brimmed with youthful passion.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
OPERATRAVELLER
Lucia Cervoni is a new name to me. Canadian and trained at the University of Western Ontario in London, Ontario, she is an ensemble member in Magdeburg. Her Octavian was indefatigable throughout a very long evening. She was fearless in attack and her soprano-ish mezzo showed no hints of strain at the top. Octavian’s relationship with the Marschallin was much less chaste and much more physical than we might be used to – rather than languorous embraces, our first glimpse of the couple was their experimentation with various positions of copulation, making it clear that Octavian was a very active young man. Cervoni is also a convincingly boyish stage presence.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE GUARDIAN
As Octavian, Lucia Cervoni struck just the right mix of boyishness and femininity, and managed to avoid being irritating when doubly cross-dressed as Mariandel the maid.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
FINANCIAL TIMES
Not far behind are Lucia Cervoni’s expertly crafted Octavian...
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
BACHTRACK
Canadian mezzo Lucia Cervoni (dressed in Act II as a knight in shining armour) impressed as her impulsive young lover Octavian
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE GUARDIAN
Canadian mezzo Lucia Cervoni is a credible Octavian, mannish enough in mannerism and breadth of tone...
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
MARK ROMAN-ONLINE BLOG
As Octavian her lover, Canadian mezzo Lucia Cervoni sang superbly while exhibiting the natural persona of a young man...
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
OPERA TODAY
The Canadian mezzo-soprano Lucia Cervoni (a principal at Theater Magdeburg) made a nicely touchy Octavian, not a little self-obsessed and very much on his dignity. Cervoni very successfully showed the way the young man struggled both with the Marschallin's philosophising in Act One, and with the sudden rush off young love in Act Two, bringing out the sense of youthful impulsiveness.
THEATER MAGDEBURG Julie, Julie
ORPHEUS
...ist Lucia Cervoni mit sicher geführten Mezzo, der Fähigkeit, den wechseinden Gemüts zustand zwischen herrschaftlicher Dominanz und sexueller Erregung, Verzweiflung und Hassliebe überzeugend auszudrücken, die Julie.
THEATER MAGDEBURG Julie, Julie
NMZ-NEUE MUSIKZEITUNG
Die Mezzosopranistin Lucia Cervoni, die 2015 schon in der kanadischen Erstaufführung als Julie bejubelt wurde, ist eine attraktive, spielerisch fordernde Julie, die es mit ihrem Auftreten versteht, die Enttäuschung über Jean glaubhaft zu vermitteln.
THEATER MAGDEBURG Julie, Julie
VOLKSSTIMME
Lucia Cervoni lässt ihren Mezzosopran außerordentlich variabel klingen, frauliche Wärme und die vokalen Exaltationen ihres zerrissenen Gemütszustandes wechseln abrupt. Man folgt ihr höchst gespannt.
DEN JYSKE OPERA Suzuki, Madama Butterfly
AARHUS STIFTSTIDENDE
Lucia Cervoni var forståelsen, trofastheden og indfølingen selv i et smuk præstation."
"Lucia Cervoni was the understanding, the loyalty and the devotion itself in a beautiful performance."
DEN JYSKE OPERA Suzuki, Madama Butterfly
jcKlassisk
"Overbevisende var også Lucia Cervoni som Suzuki, Butterflys tjenerinde og veninde. De to’s samspil og samklang i deres store scene før Pinkertons tilbagekomst fik den mening, som stor operamusik skal have.”
"Convincing was also Lucia Cervoni as Suzuki, Butterfly's maid and friend. The interaction and the harmony between them in their big scene before Pinkerton's return made sense, in the way great opera music should."
DEN JYSKE OPERA Suzuki, Madama Butterfly
POLITIKEN
".... foruden Lucia Cervonis gribende loyale tjenestepige ....”
".... in addition to Lucia Cervoni's poignant loyal maid ...."
DEN JYSKE OPERA Suzuki, Madama Butterfly
FYENS STIFTSTIDENDE
"Tjenestepigen Suzuki... - velsunget og velspillet af Lucia Cervoni”
"The maid Suzuki... - well sung and well played by Lucia Cervoni"
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
MUSICAL TORONTO
As Julie, mezzo Lucia Cervoni, American trained and European based, made an auspicious Canadian debut. Her rich, dark-hued mezzo and alluring stage presence gives the character a knowing, world-weary air. Her Julie is an anti-heroine, not very sympathetic, but then there aren’t any lovable characters in this piece!
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
OPERA NEWS & STAGE DOOR
Toronto-born mezzo-soprano Lucia Cervoni, whose career has burgeoned in Europe, made her first Toronto appearance to enthusiastic acclaim. The clarity, depth and heft of her voice along with the fine acting skills that would make her an ideal Carmen also makes her ideal as the would-be Carmen that is Boesmans’ Julie. Cervoni skilfully exchanges the arrogant bright tones of the pre-liaison Julie for the duller, more anguished tones of her post-liaison self.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
THE GLOBE AND MAIL
Lucia Cervoni, a Canadian mezzo soprano singing for the first time in Canada, has a fine, rich voice to bring to Julie’s character.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
CONCERTONET.COM
The three singers are extremely well chosen. Mezzo-soprano Lucia Cervoni, a Canadian with a career in Germany where she sings a broad repertory, is obviously an accomplished total performer.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
PLAY ANON
The titular heroine (or perhaps anti-heroine is more appropriate), passionately performed by Canadian mezzo-soprano Lucia Cervoni...... Others, possibly, were so taken with Cervoni's passionate portrayal of the character, in all her dazzling contrasts — sexual power, timid girlishness, haughty snobbery, begging desperation, loudmouth demands, soft admissions — that it seemed a pity to lose her.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
BARCZABLOG
Lucia Cervoni was the larger-than-life aristocrat Julie, the voice rich & full.
THEATER MAGDEBURG Ulrica, Un Ballo in Maschera
DER OPERNFREUND
Als Wahrsagerin Ulrica überzeugte die kanadische Mezzosopranistin Lucia Cervoni auch mit erstaunlich klangvoller Tiefe.
THEATER MAGDEBURG Ulrica, Un Ballo in Maschera
VOLKSSTIMME
Lucia Cervoni sang sie vorzüglich.
THEATER MAGDEBURG Ulrica, Un Ballo in Maschera
DER NEUE MERKER
Lucia Cervoni verkörpert die Zigenerdämonie der Ulrica recht eindrucksvoll. Sehr entgegen kommt ihr dabei auch ihr rassiger, lodernder Mezzosopran.
THEATER MAGDEBURG Rückert-Lieder von Gustav Mahler, Sinfoniekonzert der Magdeburgischen Philharmonie
VOLKSSTIMME
Mit fünf charaktervollen Rückert-Liedern von Gustav Mahler sorgte Lucia Cervoni (Mezzosopran) aus dem gut besetzten Gesangsensemble des Opernhauses für Begeisterung. Mit hervorragender Textverständlichkeit und einem warmen, runden und breit angelegten Timbre formte sie die engelhafte Schönheit und intime Schlichtheit, die Mahler den Rückert-Texten klanglich nachempfand. Zwei Beispiele: "Um Mitternacht" - völlig ohne Streicher, aber die bezaubernde Holzbläserbegleitung in tieferen Lagen und Cervonis gebildeter dunkler Mezzosopran harmonierten einfach, bevor Blech, Pauke und Harfe ein göttliches Aufblühen formten.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
MUSIK IN DRESDEN
Das ist gesanglich ergreifend, berührend und klanglich abgerundet: Lucia Cervoni als Witwe Donna Isabella mit dunklem Mezzosopran.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
FRANKFURTER ALLGEMEINE ZEITUNG
Jung und leuchtend, gern von der einschmeichelnden Solo-Oboe begleitet, singt Lucia Cervoni die Fürstin Isabella.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
CONCERTI
Aus dem Ensemble ragen Lucia Cervoni mit ihrem dunklen, vollen, schönen Mezzosopran
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
DIE DEUTSCHE BÜHNE
Donna Isabella, zum Mittelpunkt der Oper, Lucia Cervoni gibt ihr wunderbar Mutter -Freude, -Ängste, -Hoffnung und tiefe Trauer mit.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
VOLKSSTIMME
Hoffend und zweifelnd, mit dem Schicksal hadernd, eine liebevolle Mutter durch und durch - dieser Rolle gibt Lucia Cervoni eine sehr emotional einprägsame Ausstrahlung.
THEATER MAGDEBURG Octavian, Der Rosenkavalier
DER NEUE MERKER
Einen Octavian von beachtlichem Format stellt Lucia Cervoni auf die Bühne. Die Stimme besitzt in allen Registern Feuer und Leidenschaft. Mir Emphase offeriert sie die Gedanken und Gefühle des jungen Herrn aus großem Hause. Ihre Stimme führt sie dabei stets kontrolliert. Auch darstellerisch weiß sich die junge kanadische Mezzosopranistin bestens in Szene zu setzen.
THEATER MAGDEBURG Octavian, Der Rosenkavalier
VOLKSSTIMME
Octavian wiederum, gesungen von der kanadischen Mezzosopranistin Lucia Cervoni, meisterte die wahrlich nicht einfachen Partien mit begeisternder stimmlicher Leidenschaft.
THEATER MAGDEBURG Octavian, Der Rosenkavalier
MDR
Aber mann hat mit der Mezzosopranistin Lucia Cervoni einen prachtvollen Octavian.
THEATER MAGDEBURG Muse/Niklas, Hoffmanns Erzählungen
DER LANDBOTE
Lucia Cervoni füllt diese Rolle facettenreich aus, burschikos, überlegen und geheimnisvoll, und ihre Dominanz am Schluss ist ein durchaus pessimistisches Fazit im Sinne eines ironischen Romantikers oder romantischen Ironikers wie Jacques Offenbach.
THEATER MAGDEBURG Eboli, Don Carlo
OPERA MAGAZINE
Lucia Cervoni was that rarity, an Eboli who coped fully with the Veil Song and 'O don fatale', and she launched the 'Trema per te' section of the trio in the Queen's gardens with admirable fire and venom.
THEATER MAGDEBURG Eboli, Don Carlo
OPERNWELT MAGAZINE
Lucia Cervoni räumte mit satt resonierenden Brust- und dunkel schimmernden Spitzentönen, dramatischem Furor, nie nachlassender Präsenz und intelligent-eleganter Phrasierung regelrecht ab.
OPERA CANADA Artists on Stage
Among my most vivid memories of Glimmerglass Opera's 2007 production of Handel's Giulio Cesare is Cornelia's entrance aria,"Priva son d'ogni concerto," voiced with velvet tone and musicianly gravitas by the raven-haired, sloe-eyed Lucia Cer-voni. Fishing for her program bio during intermission, I anticipated specs like those of, say, Cecilia Bartoli. Instead, I'd just stumbled on another of Canada's best-kept operatic secrets.
THEATER MAGDEBURG Eboli, Don Carlo
VOLKSSTIMME
Zu Publikumslieblingen des Abends avancierten Lucia Cervoni als Prinzessin Eboli
THEATER MAGDEBURG Eboli, Don Carlo
MDR
Lucia Cervoni als Prinzessin Eboli, furios bis an die Grenzen.
BAYERISCHE KAMMERORCHESTER BAD BRÜCKENAU Open Air Gala
MAIN POST
Charmant und temperamentvoll präsentierten sich Sopran Noa Danon und Mezzosopran Lucia Cervoni...Unglaublich gut sangen Danon und Cervoni: Keine Koloraturen waren ihnen zu anstrengend, keine Intervallsprünge zu kompliziert...Exzellent auch das Duett mit Klarinettistin Claudia Sautter und Lucia Cervoni als Sesto mit „Parto, parto ma tu ben mio“ aus „La Clemenza di Tito“...Warm ums Herz wurde den Zuhörern bei Lucia Cervoni mit Georges Bizets Carmen-Arie „L'amour est un oiseau rebelle.“
THEATER MAGDEBURG Charlotte, Werther
www.opernnetz.de
Lucia Cervoni präsentiert mühelos und überzeugend die Gefühlswallungen, die Charlotte erleben und durchleiden muss, von der innigen, glühenden Liebeserwartung bis zur Resignation in das ihr zugedachte Schicksal überzeugt sie mit einem warmen Mezzosopran.
THEATER MAGDEBURG Suzuki, Madame Butterfly
VOLKSSTIMME
Die Dienerin Suzuki war mit der dunklen Samtstimme Lucia Cervonis bestens bedient.
THEATER MAGDEBURG Tisbe, Cenerentola
DER NEUE MERKER
...Lucia Cervoni als Tisbe konnten sich als eitle, herrlich gackernde Schwestern wunderbar in Szene setzen. Da stimmite alles! Von solchen Schnepfen konnte man schwerlich die Augen abwenden. Man hätte etwas verpassen können.
THEATER MAGDEBURG Charlotte, Werther
OPERAPOINT
Lucia Cervoni kann die vor allem zu Beginn unschuldig-pflichtbewußte und mütterlich wirkende Charlotte gut spielen. Sie singt ihren Part überzeugend, wobei der Höhepunkt im dritten Akt liegt Va! Laisse couler mes larmes – Ja! Laß meine Tränen fließen als sie ihre nicht zu verwirklichende Liebessehnsucht erkennen muß und der Klang des Altsaxophons ihre unendlich große Traurigkeit unterstreicht.
THEATER MAGDEBURG Charlotte, Werther
VOLKSSTIMME
Lucia Cervoni sang die Charlotte, und dies einfach hinreißend. Sie beherrscht alle Ausdrucksmomente vom Lyrischen bis zum Hochdramatischen und verströmt eine wahrhaftige Fülle des Wohllauts. Dabei gelingt es ihr, die Wechselbäder der Gefühle, ihr Schwanken zwischen Pflicht und Neigung, stimmlich darzustellen.
THEATER MAGDEBURG Carmen, Carmen
OPERAPOINT
Lucia Cervoni (Carmen) hatte eine sichere Stimmführung. Sie verzauberte mit tiefklingendem kraftvollen, dunklen Timbre, die in der Höhe strahlend aufleuchtenden Klang zeigte. Sie überzeugte gleich zu Beginn mit der bekannten Habanera: L´amour est un oiseau rebelle – Ja, die Liebe hat bunte Flügel.
THEATER MAGDEBURG Singer, Liebeslieder
VOLKSSTIMME
...durch das Solistische in der Interpretation der Lyrik und Prosa und durch die in barocken Klängen schwelgende, mit wunderbarem Koloraturgesang brillierende und hinreißend szenisch agierende Lucia Cervoni zur szenischen Handlung, zu einem theatralischen Furioso.
THEATER MAGDEBURG KammerKonzert
MAGDEBURGER STADTJOURNAL
Acht Lieder sang sie mit schöner, klarer Stimme und einer ausgeprägten Stimmkultur. Die in Englisch vorgetragenen Lieder wechselten von getragenem Tempo und innig-berührender Stimmung zu bewegten und kraftvollen Tönen. Die Mezzosopranistin sang überaus beeindruckend und überzeugte mit ihrer modulationsfähigen Stimme, darstellerischer Ausdruckskraft und große Emotionen.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
ONEIDA DISPATCH
Cervoni achieved beautifully rich, dark tones in the aria "Priva son dogni conforto" as the beleagured beauty, with her sexuality and peril heightened by Berry's black dresses.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
NEWYORK TIMES
Lucia Cervoni, a mezzo-soprano, sang well as Cornelia.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
ITHACA JOURNAL
In the role of Cornelia, Pompeo's widow, Lucia Cervoni sang her grief-stricken aria “Priva son d'ogni conforto” in Caesar's tent with touching phrasing. Her duet with the fine Sesto of Aurhelia Varak was performed with a powerful blend of both mezzo voices.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
GAY CITY NEWS
Leading the supporting cast were Canadian mezzo-soprano Lucia Cervoni as the widowed Cornelia…..Cervoni, a member of the Young American Artists ensemble, was lovely to listen to, with a contralto colored tone that never became lugubrious but also was glamorously beautiful to behold, making the widow of Pompey a totally convincing object of Achilla's and Tolomeo's lust.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
ITHACA TIMES
As Cornelia, mezzo-soprano Lucia Cervoni, from the company's Young American Artists program, captured the grief and indignant resistance of a woman under attack with a rich and clean vocal sound. (And she managed her tailored clothing and very high heels extremely well.) The mother and son duet at the end of the first act is among the most poignant in all opera; their performance was deeply moving, and left very few dry eyes in the house.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
THE POST STANDARD
Another winning portrait is that of Lucia Cervoni as Cornelia, widow of Pompey, a grieving, endangered and, later, a take-charge figure.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
DAILY GAZETTE
Mezzo-soprano Lucia Cervoni, as Pompey’s widow, and mezzo-soprano Aurhelia Varak in the pants role of her son, Sextus, were passionate and intense.
THE SANTA FE OPERA spring tour Tessa, The Trinity
FREE NEW MEXICAN
Lucia Cervoni brought a rich mezzo-soprano and warm sympathy to the older Tessa.
THE WASHINGTON INTERNATIONAL COMPETITION
THE WASHINGTON POST
Lucia Cervoni has a pleasing mezzo voice, sang sweetly and straightforwardly, and was especially effective in Samuel Barber's "Must the Winter Come So Soon?"
THE TRAGEDY OF CARMEN Carmen
THE SEATTLEST
In the role of Carmen is the lovely and alluring Lucia Cervoni, a mezzo-soprano proclaiming, "If I love you, my friend, beware." ...Don José falls for Carmen almost immediately. This part of the theme – the men who fall so easily in love with Carmen – is perhaps the most believable part of the story, as Cervoni herself is quite captivating with her dark eyes and impressive command of the many subtleties we found in her playful smile.
THE TRAGEDY OF CARMEN Carmen
BLOG
Her voice pours out like slightly chilled honey, and she looks striking.
THE SANTA FE OPERA Dritte Dame, Die Zauberflöte
IONARTS
The three ladies have some of the best music in the opera, in my opinion, and Sarah Gartshore, Paul Murrihy, and Lucia Cervoni were a well-matched trio who sang and acted well.
Opera Magazine (August 2019)
Lucia Cervoni’s portrait of Sister Helen was richly characterized, her voice embracing the whole gamut of emotions from initial doubt to the ultimate shining conviction that De Rocher – in admitting his guilt and expressing regret – could go to this death absolved in the eyes of God.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Operawire
Cervoni’s portrayal was superbly crafted; her journey from a naïve nun, teaching young children, to dealing with a cold-blooded killer was detailed, nuanced and emotionally complex. Positive, optimistic, but without experience in such matters, she comes under intense pressure from every quarter, including De Rocher who keeps lying to her and pushing her away, but eventually emerges stronger, with her faith in God intact. It was an excellent performance that captured the emotional roller-coaster of the role.
Vocally, Cervoni was perfectly suited to the role. Her singing was securely grounded, agile and characterized by clear articulation, so that every word could be easily understood, and despite her, at times, emotionally fraught state her singing was also attractively rendered. Moreover, her phrasing was subtle and detailed so that her inner turmoil, her shifting emotions, her hopes and fears, disappointments and belief in God were made evident, and made her relationship with De Rocher believable.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
The Sprout
Sister Helen is played by Lucia Cervoni, in a demanding role, on stage for most of the show. I feel she really absorbed the role and truly understood the dense contradictions within. She conveys the faith of the role well with a soaring voice, made special at the very end of the piece. A gospel song sung by children is heard throughout the opera, but to hear Cervoni sing this a-cappella in a powerful reprisal ends the show with a shudder down the spine.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
The Times
Are the victims in all this forgotten? It’s a question that Lucia Cervoni’s passionate Sister Helen grapples with, and which is a more than valid concern.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Morning Star
Led by Lucia Cervoni as Sister Helen and Morgan Smith as convicted killer Joseph De Roche, the whole ensemble are stunning.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
The Times
Sister Helen (Lucia Cervoni) and Joe (Morgan Smith) make potent, sensitive protagonists,...
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Cardiff Times
With a blend of powerful and gentle music all vocal performances were equally stunning, outstanding performances were given by Lucia Cervoni, Morgan Smith, who played Sister Helen Prejean and Joseph De Rocher. Both gave performances full of passion and conviction.
WELSH NATIONAL OPERA Sister Helen Prejean, Dead Man Walking
Seen and Heard International
There were a number of very powerful individual performances. Canadian mezzo Lucia Cervoni was in fine voice as Sister Helen. She convincingly presented the character’s determination to confront Joseph and to put before him a human face embodying God’s love of ‘his children’.
Mazzoleni Songmasters Concert‚ Toronto
operaramblings.blog
'Lucia’s other contribution to the first part of the show was Mercure’s Dissidences; Trois mélodies sur des poèmes de Gabriel Charpentier. The songs place quite different demands on the singer; somewhat frenetic in Les lions jaunes hurlent dans le sable‚ long lyrical lines in Psaume: Le dégaut des chose parfumées et faciles and a need for real power (that we got) in Le cri de joie....
After the break Lucia gave us Mahler’s Fünf Rückert-lieder. This was very fine singer with a wide emotional range. Ich atmet’ einen Linden Duff was lovely and lyrical and the rendering of the great Um Mitternacht literally hair raising (or at least my neck thought so). '
AIDA Amneris, Aida
OPERNGLAS
‘Lucia cervoni als Amneris betört dabei mit nuanciertem‚ dunkel schattiertem‚ schon präzise flutendem Mezzo‚ der Derkadenz und Laszivität verströmt. ...ging die y ihrem traurigen Höhepunkt mit der bestechenden Leistund der kanadischen Mezzos als dramatischauthentische aussingender Amneris letztlich dennoch absolut zufriedenstellend ihrem Ende entgegen /// Lucia Cervoni as Amneris beguiles with nuanced‚ darkly shaded‚ beautifully precisely flowing Mezzo‚ which exudes the cadence and lasciviousness. ... the tragedy finally ended its sad climax with the captivating performance of the Canadian mezzo as a dramatically authentic outgoing Amneris'
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
OPERA MAGAZINE
Lucia Cervoni’s Octavian is naïve and impetuous but genuinely devoted; her mezzo is wonderfully firm and clean‚ full of youthful freshness. Handsome in a red-trimmed grey frock‚ Octavian bursts with an adolescent swagger - collar turned up‚ sword stabbing the floor between his legs - which is softened by Cervoni’s warm lyricism.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
WHATS ON STAGE
The Canadian Lucia Cervoni sang the great trouser role of Octavian with tonal beauty and an impressive palette of mezzo colours, and she allied these to an irresistible physical performance, both funny and endearing, as the loved-up teenage aristo.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE SUNDAY TIMES
...the soprano role of Octavian is sung by a mezzo, the Canadian Lucia Cervoni, who ought to be better known here. This was my sixth Rosenkavalier this season, and I can’t think of one in which the female trio was more evenly balanced, or blended as well in the many duets and trios.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
CRITICS CIRCLE
The trio of sopranos – Evans and Louise Alder (Sophie) with mezzo Cervoni – pulled out all the stops: what a team. Evans disappears for much of the show‚ but still managed to dominate proceedings. Cervoni started good and got better in the trouser-role that turns into a frock-and-pinny one before re-breeching‚ if you see what I mean. Her scordatura ‘Mariandel’ went down a treat.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE TIMES
...while Lucia Cervoni’s Octavian brimmed with youthful passion.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
OPERATRAVELLER
Lucia Cervoni is a new name to me. Canadian and trained at the University of Western Ontario in London, Ontario, she is an ensemble member in Magdeburg. Her Octavian was indefatigable throughout a very long evening. She was fearless in attack and her soprano-ish mezzo showed no hints of strain at the top. Octavian’s relationship with the Marschallin was much less chaste and much more physical than we might be used to – rather than languorous embraces, our first glimpse of the couple was their experimentation with various positions of copulation, making it clear that Octavian was a very active young man. Cervoni is also a convincingly boyish stage presence.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE GUARDIAN
As Octavian, Lucia Cervoni struck just the right mix of boyishness and femininity, and managed to avoid being irritating when doubly cross-dressed as Mariandel the maid.
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
FINANCIAL TIMES
Not far behind are Lucia Cervoni’s expertly crafted Octavian...
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
BACHTRACK
Canadian mezzo Lucia Cervoni (dressed in Act II as a knight in shining armour) impressed as her impulsive young lover Octavian
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
THE GUARDIAN
Canadian mezzo Lucia Cervoni is a credible Octavian, mannish enough in mannerism and breadth of tone...
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
MARK ROMAN-ONLINE BLOG
As Octavian her lover, Canadian mezzo Lucia Cervoni sang superbly while exhibiting the natural persona of a young man...
WELSH NATIONAL OPERA Octavian, Der Rosenkavalier
OPERA TODAY
The Canadian mezzo-soprano Lucia Cervoni (a principal at Theater Magdeburg) made a nicely touchy Octavian, not a little self-obsessed and very much on his dignity. Cervoni very successfully showed the way the young man struggled both with the Marschallin's philosophising in Act One, and with the sudden rush off young love in Act Two, bringing out the sense of youthful impulsiveness.
THEATER MAGDEBURG Julie, Julie
ORPHEUS
...ist Lucia Cervoni mit sicher geführten Mezzo, der Fähigkeit, den wechseinden Gemüts zustand zwischen herrschaftlicher Dominanz und sexueller Erregung, Verzweiflung und Hassliebe überzeugend auszudrücken, die Julie.
THEATER MAGDEBURG Julie, Julie
NMZ-NEUE MUSIKZEITUNG
Die Mezzosopranistin Lucia Cervoni, die 2015 schon in der kanadischen Erstaufführung als Julie bejubelt wurde, ist eine attraktive, spielerisch fordernde Julie, die es mit ihrem Auftreten versteht, die Enttäuschung über Jean glaubhaft zu vermitteln.
THEATER MAGDEBURG Julie, Julie
VOLKSSTIMME
Lucia Cervoni lässt ihren Mezzosopran außerordentlich variabel klingen, frauliche Wärme und die vokalen Exaltationen ihres zerrissenen Gemütszustandes wechseln abrupt. Man folgt ihr höchst gespannt.
DEN JYSKE OPERA Suzuki, Madama Butterfly
AARHUS STIFTSTIDENDE
Lucia Cervoni var forståelsen, trofastheden og indfølingen selv i et smuk præstation."
"Lucia Cervoni was the understanding, the loyalty and the devotion itself in a beautiful performance."
DEN JYSKE OPERA Suzuki, Madama Butterfly
jcKlassisk
"Overbevisende var også Lucia Cervoni som Suzuki, Butterflys tjenerinde og veninde. De to’s samspil og samklang i deres store scene før Pinkertons tilbagekomst fik den mening, som stor operamusik skal have.”
"Convincing was also Lucia Cervoni as Suzuki, Butterfly's maid and friend. The interaction and the harmony between them in their big scene before Pinkerton's return made sense, in the way great opera music should."
DEN JYSKE OPERA Suzuki, Madama Butterfly
POLITIKEN
".... foruden Lucia Cervonis gribende loyale tjenestepige ....”
".... in addition to Lucia Cervoni's poignant loyal maid ...."
DEN JYSKE OPERA Suzuki, Madama Butterfly
FYENS STIFTSTIDENDE
"Tjenestepigen Suzuki... - velsunget og velspillet af Lucia Cervoni”
"The maid Suzuki... - well sung and well played by Lucia Cervoni"
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
MUSICAL TORONTO
As Julie, mezzo Lucia Cervoni, American trained and European based, made an auspicious Canadian debut. Her rich, dark-hued mezzo and alluring stage presence gives the character a knowing, world-weary air. Her Julie is an anti-heroine, not very sympathetic, but then there aren’t any lovable characters in this piece!
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
OPERA NEWS & STAGE DOOR
Toronto-born mezzo-soprano Lucia Cervoni, whose career has burgeoned in Europe, made her first Toronto appearance to enthusiastic acclaim. The clarity, depth and heft of her voice along with the fine acting skills that would make her an ideal Carmen also makes her ideal as the would-be Carmen that is Boesmans’ Julie. Cervoni skilfully exchanges the arrogant bright tones of the pre-liaison Julie for the duller, more anguished tones of her post-liaison self.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
THE GLOBE AND MAIL
Lucia Cervoni, a Canadian mezzo soprano singing for the first time in Canada, has a fine, rich voice to bring to Julie’s character.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
CONCERTONET.COM
The three singers are extremely well chosen. Mezzo-soprano Lucia Cervoni, a Canadian with a career in Germany where she sings a broad repertory, is obviously an accomplished total performer.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
PLAY ANON
The titular heroine (or perhaps anti-heroine is more appropriate), passionately performed by Canadian mezzo-soprano Lucia Cervoni...... Others, possibly, were so taken with Cervoni's passionate portrayal of the character, in all her dazzling contrasts — sexual power, timid girlishness, haughty snobbery, begging desperation, loudmouth demands, soft admissions — that it seemed a pity to lose her.
CANADIAN STAGE & SOUNDSTREAMS CANADA Julie, Julie
BARCZABLOG
Lucia Cervoni was the larger-than-life aristocrat Julie, the voice rich & full.
THEATER MAGDEBURG Ulrica, Un Ballo in Maschera
DER OPERNFREUND
Als Wahrsagerin Ulrica überzeugte die kanadische Mezzosopranistin Lucia Cervoni auch mit erstaunlich klangvoller Tiefe.
THEATER MAGDEBURG Ulrica, Un Ballo in Maschera
VOLKSSTIMME
Lucia Cervoni sang sie vorzüglich.
THEATER MAGDEBURG Ulrica, Un Ballo in Maschera
DER NEUE MERKER
Lucia Cervoni verkörpert die Zigenerdämonie der Ulrica recht eindrucksvoll. Sehr entgegen kommt ihr dabei auch ihr rassiger, lodernder Mezzosopran.
THEATER MAGDEBURG Rückert-Lieder von Gustav Mahler, Sinfoniekonzert der Magdeburgischen Philharmonie
VOLKSSTIMME
Mit fünf charaktervollen Rückert-Liedern von Gustav Mahler sorgte Lucia Cervoni (Mezzosopran) aus dem gut besetzten Gesangsensemble des Opernhauses für Begeisterung. Mit hervorragender Textverständlichkeit und einem warmen, runden und breit angelegten Timbre formte sie die engelhafte Schönheit und intime Schlichtheit, die Mahler den Rückert-Texten klanglich nachempfand. Zwei Beispiele: "Um Mitternacht" - völlig ohne Streicher, aber die bezaubernde Holzbläserbegleitung in tieferen Lagen und Cervonis gebildeter dunkler Mezzosopran harmonierten einfach, bevor Blech, Pauke und Harfe ein göttliches Aufblühen formten.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
MUSIK IN DRESDEN
Das ist gesanglich ergreifend, berührend und klanglich abgerundet: Lucia Cervoni als Witwe Donna Isabella mit dunklem Mezzosopran.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
FRANKFURTER ALLGEMEINE ZEITUNG
Jung und leuchtend, gern von der einschmeichelnden Solo-Oboe begleitet, singt Lucia Cervoni die Fürstin Isabella.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
CONCERTI
Aus dem Ensemble ragen Lucia Cervoni mit ihrem dunklen, vollen, schönen Mezzosopran
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
DIE DEUTSCHE BÜHNE
Donna Isabella, zum Mittelpunkt der Oper, Lucia Cervoni gibt ihr wunderbar Mutter -Freude, -Ängste, -Hoffnung und tiefe Trauer mit.
THEATER MAGDEBURG Donna Isabella, Die Braut von Messina
VOLKSSTIMME
Hoffend und zweifelnd, mit dem Schicksal hadernd, eine liebevolle Mutter durch und durch - dieser Rolle gibt Lucia Cervoni eine sehr emotional einprägsame Ausstrahlung.
THEATER MAGDEBURG Octavian, Der Rosenkavalier
DER NEUE MERKER
Einen Octavian von beachtlichem Format stellt Lucia Cervoni auf die Bühne. Die Stimme besitzt in allen Registern Feuer und Leidenschaft. Mir Emphase offeriert sie die Gedanken und Gefühle des jungen Herrn aus großem Hause. Ihre Stimme führt sie dabei stets kontrolliert. Auch darstellerisch weiß sich die junge kanadische Mezzosopranistin bestens in Szene zu setzen.
THEATER MAGDEBURG Octavian, Der Rosenkavalier
VOLKSSTIMME
Octavian wiederum, gesungen von der kanadischen Mezzosopranistin Lucia Cervoni, meisterte die wahrlich nicht einfachen Partien mit begeisternder stimmlicher Leidenschaft.
THEATER MAGDEBURG Octavian, Der Rosenkavalier
MDR
Aber mann hat mit der Mezzosopranistin Lucia Cervoni einen prachtvollen Octavian.
THEATER MAGDEBURG Muse/Niklas, Hoffmanns Erzählungen
DER LANDBOTE
Lucia Cervoni füllt diese Rolle facettenreich aus, burschikos, überlegen und geheimnisvoll, und ihre Dominanz am Schluss ist ein durchaus pessimistisches Fazit im Sinne eines ironischen Romantikers oder romantischen Ironikers wie Jacques Offenbach.
THEATER MAGDEBURG Eboli, Don Carlo
OPERA MAGAZINE
Lucia Cervoni was that rarity, an Eboli who coped fully with the Veil Song and 'O don fatale', and she launched the 'Trema per te' section of the trio in the Queen's gardens with admirable fire and venom.
THEATER MAGDEBURG Eboli, Don Carlo
OPERNWELT MAGAZINE
Lucia Cervoni räumte mit satt resonierenden Brust- und dunkel schimmernden Spitzentönen, dramatischem Furor, nie nachlassender Präsenz und intelligent-eleganter Phrasierung regelrecht ab.
OPERA CANADA Artists on Stage
Among my most vivid memories of Glimmerglass Opera's 2007 production of Handel's Giulio Cesare is Cornelia's entrance aria,"Priva son d'ogni concerto," voiced with velvet tone and musicianly gravitas by the raven-haired, sloe-eyed Lucia Cer-voni. Fishing for her program bio during intermission, I anticipated specs like those of, say, Cecilia Bartoli. Instead, I'd just stumbled on another of Canada's best-kept operatic secrets.
THEATER MAGDEBURG Eboli, Don Carlo
VOLKSSTIMME
Zu Publikumslieblingen des Abends avancierten Lucia Cervoni als Prinzessin Eboli
THEATER MAGDEBURG Eboli, Don Carlo
MDR
Lucia Cervoni als Prinzessin Eboli, furios bis an die Grenzen.
BAYERISCHE KAMMERORCHESTER BAD BRÜCKENAU Open Air Gala
MAIN POST
Charmant und temperamentvoll präsentierten sich Sopran Noa Danon und Mezzosopran Lucia Cervoni...Unglaublich gut sangen Danon und Cervoni: Keine Koloraturen waren ihnen zu anstrengend, keine Intervallsprünge zu kompliziert...Exzellent auch das Duett mit Klarinettistin Claudia Sautter und Lucia Cervoni als Sesto mit „Parto, parto ma tu ben mio“ aus „La Clemenza di Tito“...Warm ums Herz wurde den Zuhörern bei Lucia Cervoni mit Georges Bizets Carmen-Arie „L'amour est un oiseau rebelle.“
THEATER MAGDEBURG Charlotte, Werther
www.opernnetz.de
Lucia Cervoni präsentiert mühelos und überzeugend die Gefühlswallungen, die Charlotte erleben und durchleiden muss, von der innigen, glühenden Liebeserwartung bis zur Resignation in das ihr zugedachte Schicksal überzeugt sie mit einem warmen Mezzosopran.
THEATER MAGDEBURG Suzuki, Madame Butterfly
VOLKSSTIMME
Die Dienerin Suzuki war mit der dunklen Samtstimme Lucia Cervonis bestens bedient.
THEATER MAGDEBURG Tisbe, Cenerentola
DER NEUE MERKER
...Lucia Cervoni als Tisbe konnten sich als eitle, herrlich gackernde Schwestern wunderbar in Szene setzen. Da stimmite alles! Von solchen Schnepfen konnte man schwerlich die Augen abwenden. Man hätte etwas verpassen können.
THEATER MAGDEBURG Charlotte, Werther
OPERAPOINT
Lucia Cervoni kann die vor allem zu Beginn unschuldig-pflichtbewußte und mütterlich wirkende Charlotte gut spielen. Sie singt ihren Part überzeugend, wobei der Höhepunkt im dritten Akt liegt Va! Laisse couler mes larmes – Ja! Laß meine Tränen fließen als sie ihre nicht zu verwirklichende Liebessehnsucht erkennen muß und der Klang des Altsaxophons ihre unendlich große Traurigkeit unterstreicht.
THEATER MAGDEBURG Charlotte, Werther
VOLKSSTIMME
Lucia Cervoni sang die Charlotte, und dies einfach hinreißend. Sie beherrscht alle Ausdrucksmomente vom Lyrischen bis zum Hochdramatischen und verströmt eine wahrhaftige Fülle des Wohllauts. Dabei gelingt es ihr, die Wechselbäder der Gefühle, ihr Schwanken zwischen Pflicht und Neigung, stimmlich darzustellen.
THEATER MAGDEBURG Carmen, Carmen
OPERAPOINT
Lucia Cervoni (Carmen) hatte eine sichere Stimmführung. Sie verzauberte mit tiefklingendem kraftvollen, dunklen Timbre, die in der Höhe strahlend aufleuchtenden Klang zeigte. Sie überzeugte gleich zu Beginn mit der bekannten Habanera: L´amour est un oiseau rebelle – Ja, die Liebe hat bunte Flügel.
THEATER MAGDEBURG Singer, Liebeslieder
VOLKSSTIMME
...durch das Solistische in der Interpretation der Lyrik und Prosa und durch die in barocken Klängen schwelgende, mit wunderbarem Koloraturgesang brillierende und hinreißend szenisch agierende Lucia Cervoni zur szenischen Handlung, zu einem theatralischen Furioso.
THEATER MAGDEBURG KammerKonzert
MAGDEBURGER STADTJOURNAL
Acht Lieder sang sie mit schöner, klarer Stimme und einer ausgeprägten Stimmkultur. Die in Englisch vorgetragenen Lieder wechselten von getragenem Tempo und innig-berührender Stimmung zu bewegten und kraftvollen Tönen. Die Mezzosopranistin sang überaus beeindruckend und überzeugte mit ihrer modulationsfähigen Stimme, darstellerischer Ausdruckskraft und große Emotionen.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
ONEIDA DISPATCH
Cervoni achieved beautifully rich, dark tones in the aria "Priva son dogni conforto" as the beleagured beauty, with her sexuality and peril heightened by Berry's black dresses.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
NEWYORK TIMES
Lucia Cervoni, a mezzo-soprano, sang well as Cornelia.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
ITHACA JOURNAL
In the role of Cornelia, Pompeo's widow, Lucia Cervoni sang her grief-stricken aria “Priva son d'ogni conforto” in Caesar's tent with touching phrasing. Her duet with the fine Sesto of Aurhelia Varak was performed with a powerful blend of both mezzo voices.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
GAY CITY NEWS
Leading the supporting cast were Canadian mezzo-soprano Lucia Cervoni as the widowed Cornelia…..Cervoni, a member of the Young American Artists ensemble, was lovely to listen to, with a contralto colored tone that never became lugubrious but also was glamorously beautiful to behold, making the widow of Pompey a totally convincing object of Achilla's and Tolomeo's lust.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
ITHACA TIMES
As Cornelia, mezzo-soprano Lucia Cervoni, from the company's Young American Artists program, captured the grief and indignant resistance of a woman under attack with a rich and clean vocal sound. (And she managed her tailored clothing and very high heels extremely well.) The mother and son duet at the end of the first act is among the most poignant in all opera; their performance was deeply moving, and left very few dry eyes in the house.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
THE POST STANDARD
Another winning portrait is that of Lucia Cervoni as Cornelia, widow of Pompey, a grieving, endangered and, later, a take-charge figure.
GLIMMERGLASS OPERA Cornelia, Giulio Cesare
DAILY GAZETTE
Mezzo-soprano Lucia Cervoni, as Pompey’s widow, and mezzo-soprano Aurhelia Varak in the pants role of her son, Sextus, were passionate and intense.
THE SANTA FE OPERA spring tour Tessa, The Trinity
FREE NEW MEXICAN
Lucia Cervoni brought a rich mezzo-soprano and warm sympathy to the older Tessa.
THE WASHINGTON INTERNATIONAL COMPETITION
THE WASHINGTON POST
Lucia Cervoni has a pleasing mezzo voice, sang sweetly and straightforwardly, and was especially effective in Samuel Barber's "Must the Winter Come So Soon?"
THE TRAGEDY OF CARMEN Carmen
THE SEATTLEST
In the role of Carmen is the lovely and alluring Lucia Cervoni, a mezzo-soprano proclaiming, "If I love you, my friend, beware." ...Don José falls for Carmen almost immediately. This part of the theme – the men who fall so easily in love with Carmen – is perhaps the most believable part of the story, as Cervoni herself is quite captivating with her dark eyes and impressive command of the many subtleties we found in her playful smile.
THE TRAGEDY OF CARMEN Carmen
BLOG
Her voice pours out like slightly chilled honey, and she looks striking.
THE SANTA FE OPERA Dritte Dame, Die Zauberflöte
IONARTS
The three ladies have some of the best music in the opera, in my opinion, and Sarah Gartshore, Paul Murrihy, and Lucia Cervoni were a well-matched trio who sang and acted well.
