IDOMENEO
CENDRILLON
“The Elettra of Rosie Lavery was the finest singer of the evening with an outstanding characterisation and stage presence added to by her scarlet red costume (her Beatrice in Three Decembers by Jack Heggie was remarkable last year). Her aria … was glorious in its tessitura and weight of dramaticpower.”
“…it was left to Rosie Lavery’s superbly focues Elettra to communicate a true sense of character and Mozart style.”
“Rosie Lavery was a fine Elettra, particularly effective in her extended dramatic recitatives. Her two contrasting arias in the first two acts were beautifully delivered.”
“Rosie Lavery, dressed in scarlet as Elettra, Ilia’s rival for the affections of Idamante, was even more commanding vocally and the most confident performer onstage, ideally cast for the drama of her solos in Act 3.”
“Scottish soprano Rosie Lavery …was a thrillingly (and terrifyingly) malevolent and violent Elettra… Lest there be any doubt, her aria ‘Tutte nel cor vi sento furie del cupo averno’ is a tour-de-force of blind rage with stormy orchestral accompaniment to match, and it was phenomenally good …Rosie’s vocal performance in these arias and throughout was stunning. However, I cannot leave unmentioned the masterly piece of dramatic and movement direction, acting and pure visual spectacle which followed the love duet, when Idomeneo and Elettra discovered the lovers together, When Ilia and Elettra were left alone together, Elettra trashed Ilia’s grotto and destroyed her potted plants in a fit of spite. Elettra is not a character to cross. To be honest, after that, I would think twice about crossing Rosie.”
“Scottish soprano Rosie Lavery, whose portrayal of Bea in ‘Three Decembers’ moved me write “captivatingly expressive and emotionally charged…a soprano to watch”, was as captivating in a comic role, both dramatically and vocally.”
“Madame (Flora Birkbeck) and her girls (Charlotte Bateman and Rosie Lavery) are a formidable trio, both vocally and physically… “
“Madame and the two girls behaved, and were costumed extravantly, without being too grotesque, and their singing was beautifully controlled.”
“Rosie’s Bea, vulnerable and starved of affection, was captivatingly expressive and emotionally charged, the transformation to a state of self-knowledge and self-realisation both compelling and credible – a soprano to watch.” Edinburgh Music Review
“…soprano Rosie Lavery gave a storming performance as Bea in a choppy mother-daughter relationship.”
“…Bea’s aria … was sung splendidly by soprano Rosie Lavery. Consistent, with a bright and clear tone Lavery projects her voice well, achieving her high notes quite easily.” Seen and Heard International
“Rosie Lavery, dressed in scarlet as Elettra, Ilia’s rival for the affections of Idamante, was even more commanding vocally and the most confident performer onstage, ideally cast for the drama of her solos in Act 3.”
“Scottish soprano Rosie Lavery …was a thrillingly (and terrifyingly) malevolent and violent Elettra… Lest there be any doubt, her aria ‘Tutte nel cor vi sento furie del cupo averno’ is a tour-de-force of blind rage with stormy orchestral accompaniment to match, and it was phenomenally good …Rosie’s vocal performance in these arias and throughout was stunning. However, I cannot leave unmentioned the masterly piece of dramatic and movement direction, acting and pure visual spectacle which followed the love duet, when Idomeneo and Elettra discovered the lovers together, When Ilia and Elettra were left alone together, Elettra trashed Ilia’s grotto and destroyed her potted plants in a fit of spite. Elettra is not a character to cross. To be honest, after that, I would think twice about crossing Rosie.”
