{"id":514,"date":"2016-05-11T11:50:43","date_gmt":"2016-05-11T09:50:43","guid":{"rendered":"http:\/\/www.carmelaremigio.net\/?page_id=514&lang=en"},"modified":"2022-07-14T12:11:39","modified_gmt":"2022-07-14T10:11:39","slug":"rassegna-stampa","status":"publish","type":"page","link":"https:\/\/www.carmelaremigio.net\/en\/rassegna-stampa","title":{"rendered":"Press Review"},"content":{"rendered":"

[vc_row][vc_column width=”1\/3″][vc_single_image image=”750″ img_size=”244×35″ css_animation=”appear”][vc_column_text]RINALDO<\/strong>
\n“Carmela Remigio come Armida per la consueta personalit\u00e0 forte, sicch\u00e9 entra tenendo al guinzaglio un paio di mostri, canta (e molto bene) \u00abFurie terribili!\u00bb e il personaggio c’\u00e8 gi\u00e0 tutto”\u00a0 (Alberto Mattioli)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1393″ img_size=”244×35″ css_animation=”appear”][vc_column_text]NORMA<\/strong>
\n\u00abCarmela Remigio is a dark colored Adalgisa, proud and passionate in the vocal enthusiasm.\u00bb (Andrea Penna)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1395″ img_size=”264×40″ css_animation=”appear”][vc_column_text]FAUST<\/strong>
\n\u00ab[\u2026] Carmela Remigio, a gentle Marguerite, delicate, passionate, but also capable of strong dramatic moments.\u00bb (Paolo Petazzi)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”1378″ img_size=”258×35″ css_animation=”appear”][vc_column_text]MARIA STUARDA<\/strong>
\n\u00ab[\u2026] and Carmela Remigio, a royal Elisabetta, cold and algid as needed, but full of doubts.\u00bb (Lorenzo Tozzi)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1374″ img_size=”264×40″ css_animation=”appear”][vc_column_text]FAUST<\/strong>
\n\u00abCarmela Remigio [\u2026] touched an absolute apex [\u2026] reachable only with that intense, very moving humanity only possible for those who can find in singing [\u2026] the most authentic expressive motives.\u00bb (Elvio Giudici)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”264×40″ css_animation=”appear”][vc_column_text]FAUST<\/strong>
\n\u00ab[\u2026] it\u2019s a very sensible Carmela Remigio who drafts, by changing gesture and voice, the real evolution of Marguerite.\u00bb(Gian Mario Benzing)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”234″ img_size=”258×35″ css_animation=”appear”][vc_column_text]IDOMENEO<\/strong>
\n\u00abCarmela Remigio does an hysterical Elektra, but always very musical. \u00bb (Pierachille Dolfini)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”751″ img_size=”264×40″ css_animation=”appear”][vc_column_text]MARIA STUARDA<\/strong>
\n\u00abIn Rome, Marina Rebeka, Stuarda, Carmela Remigio, Elisabetta. Both splendid: two queens in comparison!\u00bb (Anna Bandettini)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”264×40″ css_animation=”appear”][vc_column_text]MARIA STUARDA<\/strong>
\n\u00abCarmela Remigio [\u2026] shows an infinite palette of colors, mixes lyricism and sarcasm even in the pianissimo or in the delicate flourishes.\u00bb (Gian Mario Benzing)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”258×35″ css_animation=”appear”][vc_column_text]IDOMENEO
\n<\/strong>\u00abElettra has the most multifaceted psychology [\u2026]. And its rendition is splendidly done by Carmela Remigio, with her strong stage presence and her pleasing voice, full and flexible in its nuances.\u00bb (Francesco Ermini Polacci)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”751″ img_size=”264×40″ css_animation=”appear”][vc_column_text]EVGENIJ ONEGIN<\/strong>
\n\u00abCarmela Remigio offers a splendid interpretation of the role of Tatiana!\u00bb (Dino Villatico)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”750″ img_size=”264×40″ css_animation=”appear”][vc_column_text]LA DONNA SERPENTE<\/strong>
\n\u00abAn all-together top level vocal ensemble: particularly praiseworthy are leading characters Pietro Pretti […] and Carmela Remigio, a captivating fairy Miranda who wins through her delicacy and dramatic outbursts…\u00bb (Giorgio Pestelli)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”762″ img_size=”258×35″ css_animation=”appear”][vc_column_text]EVGENIJ ONEGIN<\/strong>
\n\u00abThe voice of Carmela Remigio stands above all others, a poignant Tatiana with a penetrating voice and touching gestures, interpreting this Russian opera for the first time\u00bb (Dinko Fabris)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”234″ img_size=”264×40″ css_animation=”appear”][vc_column_text]NORMA<\/strong>
\n\u00abCarmela Remigio deserves first mention, not only because of her almost uninterrupted stage presence and an extremely demanding vocal commitment, but also thanks to a performance that we would not hesitate to describe as the most convincing step in this phase of her career\u00bb (Virgilio Celletti)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”750″ img_size=”264×40″ css_animation=”appear”][vc_column_text]DON GIOVANNI<\/strong>
\n\u00ab…Donna Elvira, interpreted by an extremely passionate Carmela Remigio, full of anger towards her traitor, but also full of tender feelings for her lost love. Her voice has become more robust, without losing her agility and nuances, actually quite the contrary…\u00bb[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”752″ img_size=”264×40″ css_animation=”appear”][vc_column_text]EVGENIJ ONEGIN<\/strong>
\n\u00abCarmela Remigio was a great Tatyana, the real protagonist of the work, tender and thoughtful. She entranced the audience in her famous letter scene, and while the music expresses the young lady\u2019s emotional progression, under Axelrod\u2019s guidance she masterfully dilated the final part of this scene to the limits of an unbearable tension\u00bb (Lorenzo Fiorito)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”760″ img_size=”264×40″ css_animation=”appear”][vc_column_text]DON GIOVANNI<\/strong>
\n\u00ab\u2026Remigio has a velvety timbre, a robust voice, solid vibrato and impeccable intonation. There is hardly any need to read the libretto. A prim donna since she was only a child in Salzburg, she has kept the distinctive personality of Mozart characters, with melancholy traits that envelop the twenty songs making them sound perfect\u00bb (Carla Moreni)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”751″ img_size=”264×40″ css_animation=”appear”][vc_column_text]EVGENIJ ONEGIN<\/strong>
\n\u00abCarmela Remigio, at her debut in the extremely demanding role of Tatiana, charms and moves with each expressive phrase (even in Russian). The incredible 13 minutes tour de force<\/em> of the \u201cletter scene\u201d would be enough, and they are carried out with turbulent mastery and powerful stage presence: more than applaud her we must thank her\u00bb (Sandro Compagnone)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”245″ img_size=”264×40″ css_animation=”appear”][vc_column_text]DON GIOVANNI<\/strong>
\n\u00ab…No other Anna can compete with Carmela Remigio, who [\u2026] has gone back to being the singer we heard in Aix with Abbado and Peter Brook: beautiful and broad vocal lines, always floating on a controlled and perfectly projected sound, supple material for glowing phrases, streaked with veins of overflowing sensuality, feeding a living torch that burns with the same composite flame as Giovanni\u2019s\u00bb (Elvio Giudici)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”248″ img_size=”264×40″ css_animation=”appear”][vc_column_text]DON GIOVANNI<\/strong>
\n\u00abCarmela Remigi\u2019s vocal perfection (flowing, even, and soft lines at every range and intensity, instrumental musicality, perfect legato, impeccable coloratura) is never self-centred striking beauty but an instrument to fully express that mix of conscious melancholy, exhausted bitterness, excruciating surrender, which are Anna\u2019s fundamental traits and which have been so perfectly rendered by this great artist\u00bb (Elvio Giudici)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”264×40″ css_animation=”appear”][vc_column_text]TOSTI, ROSSINI<\/strong>
\n\u00abThe Italian soprano from Pescara [\u2026] initially offers a handful of songs by Francesco Paolo Tosti followed by a delightful choice of \u201cfogli d\u2019album<\/em>\u201d (album pages) from Rossini\u2019s later production. Thus revealing not only her warm timbre and the lyrical vocation of her voice (more than a dramatic one), but also an interpretative vein that captivates thanks to balance of colours and natural phrasing. With this kind of Rossini, irony and amusement are guaranteed\u00bb (Enrico Girardi)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”255″ img_size=”264×40″ css_animation=”appear”][vc_column_text]NORMA
\n<\/strong>\u00abThe same is true about the soprano version of Adalgisa interpreted by the excellent Carmela Remigio. Her voice blending perfectly with that of Devia during the captivating duets, making their voices as one, and still with different vibrations. Remigio\u2019s singing taste is of the highest level. A clear voice, and yet throbbing with passion, with shiny and resounding top Cs, a heartfelt interpretation on the edge of overflowing pathos while at the same time maintaining a refined and controlled style, all this has made Carmela Remigio a reference Adalgisa, perfectly suited for this musical version of Norma\u00bb (Nicola Salmoiraghi)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”757″ img_size=”264×40″ css_animation=”appear”][vc_column_text]DON GIOVANNI<\/strong>
\n\u00abCarmela Remigio is truly excellent, the evening\u2019s best performer, returning to Donna Elvira after only a few months from interpreting Donna Anna in Don Giovanni<\/em> at La Scala; but as just said she seems to have made the character her own. After the opening aria \u201cAh, chi mi dice mai\u201d, where she had to come to a compromise with the low register, her interpretation was nothing less than enthusiastic, thanks to her always resounding voice, even and well balanced through the various registers: the Masks Trio and the aria \u201cMi trad\u00ec quell\u2019alma ingrate\u201d are there to prove it, the latter being greeted by a well deserved ovation\u00bb (Ugo Malasoma)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”264×40″ css_animation=”appear”][vc_column_text]MARIA STUARDA<\/strong>
\n\u00abMaking her debut in the role, Carmela Remigio has asserted her highest qualities as singer and actress, offering a performance that perfectly delivered the various attitudes of the British queen in the evolution of her feelings, from ambiguous to exalted, from suffering to nostalgic, from vindictive to desperate at the end, but never waiving the proud claim of her right to the throne. Within an often very demanding Bel canto interpretation, Remigio has aroused admiration for the severity and transparency of her accents, her superb style, her total identification with the character\u00bb (Luigi Bellingardi)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”757″ img_size=”264×40″ css_animation=”appear”][vc_column_text]LA DONNA SERPENTE<\/strong>
\n\u00abCarmela Remigio\u2019s voice is perfect for Miranda. Her singing was clear and never forced in that higher register that so often Casella requests from the role of the fairy. The way the singer treated each word, a skill she mastered thanks to her experience with the baroque repertoire, has offered plastic emphasis to the wonderful monologue at the beginning of the third act (the best moment of the whole opera, according to Casella himself). Through the bare recitar cantando<\/em> of \u201cVaghe stele dell\u2019Orsa maggiore\u201d, with no orchestral accompaniment, the soprano offered a natural style so close to Monteverdi, almost improvised and apparently detached from rhythmic rigor\u00bb (Lodovico Buscatti)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2352″ img_size=”264×40″ css_animation=”appear”][vc_column_text]<\/p>\n

LUCREZIA BORGIA<\/strong><\/div>\n
\n

\u00abThe soprano Carmela Remigio signs a very successful performance. She interprets the finest and most intelligent, she chisels every sentence, every word with the right accent and appropriate expressive nuances. She is vocally convincing for her stylistic mastery and for a clean and precise vocal line. Lucrezia’s writing is one of the most insidious of her and Remigio faces it with confidence, without forcing and rather trying to enhance the qualities of her vehicle\u00bb. (Marco Faverzani | Giorgio Panigati)<\/p>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text el_class=”INTERVIEW”]<\/p>\n

INTERVIEW<\/span><\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1184″ img_size=”264×40″][vc_column_text]\u00abIo, Mim\u00ec curiosa e audace\u00bb[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”757″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”822″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”825″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1172″ img_size=”264×40″][vc_column_text]Tre volte grazie[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1170″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1176″ img_size=”264×40″][vc_column_text]Si, Donna Anna sono io e sono pazza di Don Giovanni[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1181″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1184″ img_size=”264×40″][vc_column_text]Remigio: \u00abLa mia Mim\u00ec \u00e8 una ragazza di oggi\u00bb[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”245″ img_size=”264×40″][vc_column_text]\u00abRitorno nella Bologna del cuore pensando a Don Giovanni e Poppea\u00bb[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1189″ img_size=”264×40″][vc_column_text]La Remigio: \u00abIo, Vedova bruna, donna non solo allegra\u00bb[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”750″ img_size=”264×40″][vc_column_text]\u00abMiranda, fata disposta a tutto per amore\u00bb[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”1385″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1386″ img_size=”264×40″][vc_column_text]> Discover the interview!\u00a0<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1387″ img_size=”258×38″][vc_column_text]> Discover the interview!\u00a0<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”264×40″][vc_column_text]Carmela Remigio-Poppea: \u00abFinalmente un happy end\u00bb[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1376″ img_size=”264×40″][vc_column_text]Nell’inferno di Faust
\nL’opera vista dal Soprano Carmela Remigio[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”248″ img_size=”264×40″][vc_column_text]<\/p>\n

\u00abChe emozione tornare al ruolo che mi lanci\u00f2\u00bb<\/div>\n
La Remigio \u00e8 Poppea alla Scala<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”751″ img_size=”264×40″][vc_column_text]> Discover the interview!\u00a0<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1391″ img_size=”258×38″][vc_column_text]> Discover the interview!\u00a0<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”1170″ img_size=”264×40″][vc_column_text]\u00abIl mio Rossini \u00e8 un dono d’amore\u00bb[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1189″ img_size=”264×40″][vc_column_text]<\/p>\n

\u00abBuon compleanno carissimo Rossini<\/span><\/div>\n
Napoli ti celebra con il Mos\u00e8 nato qui\u00bb<\/span><\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”753″ img_size=”264×40″][vc_column_text]> Discover the interview!<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column width=”1\/3″][vc_single_image image=”750″ img_size=”244×35″ css_animation=”appear”][vc_column_text]RINALDO “Carmela Remigio come Armida per la consueta personalit\u00e0 forte, sicch\u00e9 entra tenendo al guinzaglio un paio di mostri, canta (e molto bene) \u00abFurie terribili!\u00bb e il personaggio c’\u00e8 gi\u00e0 tutto”\u00a0 (Alberto Mattioli)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1393″ img_size=”244×35″ css_animation=”appear”][vc_column_text]NORMA \u00abCarmela Remigio is a dark colored Adalgisa, proud and passionate in the vocal enthusiasm.\u00bb […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","footnotes":""},"class_list":["post-514","page","type-page","status-publish","hentry"],"yoast_head":"\nPress Review - Carmela Remigio<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.carmelaremigio.net\/en\/rassegna-stampa\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Press Review - Carmela Remigio\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column width=”1\/3″][vc_single_image image=”750″ img_size=”244×35″ css_animation=”appear”][vc_column_text]RINALDO “Carmela Remigio come Armida per la consueta personalit\u00e0 forte, sicch\u00e9 entra tenendo al guinzaglio un paio di mostri, canta (e molto bene) \u00abFurie terribili!\u00bb e il personaggio c’\u00e8 gi\u00e0 tutto”\u00a0 (Alberto Mattioli)[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1393″ img_size=”244×35″ css_animation=”appear”][vc_column_text]NORMA \u00abCarmela Remigio is a dark colored Adalgisa, proud and passionate in the vocal enthusiasm.\u00bb […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.carmelaremigio.net\/en\/rassegna-stampa\" \/>\n<meta property=\"og:site_name\" content=\"Carmela Remigio\" \/>\n<meta property=\"article:modified_time\" content=\"2022-07-14T10:11:39+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.carmelaremigio.net\\\/en\\\/rassegna-stampa\",\"url\":\"https:\\\/\\\/www.carmelaremigio.net\\\/en\\\/rassegna-stampa\",\"name\":\"Press Review - 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