Press Review - Carmela Remigio

RINALDO
“Carmela Remigio come Armida per la consueta personalità forte, sicché entra tenendo al guinzaglio un paio di mostri, canta (e molto bene) «Furie terribili!» e il personaggio c’è già tutto” (Alberto Mattioli)

NORMA
«Carmela Remigio is a dark colored Adalgisa, proud and passionate in the vocal enthusiasm.» (Andrea Penna)

FAUST
«[…] Carmela Remigio, a gentle Marguerite, delicate, passionate, but also capable of strong dramatic moments.» (Paolo Petazzi)

MARIA STUARDA
«[…] and Carmela Remigio, a royal Elisabetta, cold and algid as needed, but full of doubts.» (Lorenzo Tozzi)

FAUST
«Carmela Remigio […] touched an absolute apex […] reachable only with that intense, very moving humanity only possible for those who can find in singing […] the most authentic expressive motives.» (Elvio Giudici)

FAUST
«[…] it’s a very sensible Carmela Remigio who drafts, by changing gesture and voice, the real evolution of Marguerite.»(Gian Mario Benzing)

IDOMENEO
«Carmela Remigio does an hysterical Elektra, but always very musical. » (Pierachille Dolfini)

MARIA STUARDA
«In Rome, Marina Rebeka, Stuarda, Carmela Remigio, Elisabetta. Both splendid: two queens in comparison!» (Anna Bandettini)

MARIA STUARDA
«Carmela Remigio […] shows an infinite palette of colors, mixes lyricism and sarcasm even in the pianissimo or in the delicate flourishes.» (Gian Mario Benzing)

IDOMENEO
«Elettra has the most multifaceted psychology […]. And its rendition is splendidly done by Carmela Remigio, with her strong stage presence and her pleasing voice, full and flexible in its nuances.» (Francesco Ermini Polacci)

EVGENIJ ONEGIN
«Carmela Remigio offers a splendid interpretation of the role of Tatiana!» (Dino Villatico)

LA DONNA SERPENTE
«An 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…» (Giorgio Pestelli)

EVGENIJ ONEGIN
«The 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» (Dinko Fabris)

NORMA
«Carmela 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» (Virgilio Celletti)

DON GIOVANNI
«…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…»

EVGENIJ ONEGIN
«Carmela 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’s emotional progression, under Axelrod’s guidance she masterfully dilated the final part of this scene to the limits of an unbearable tension» (Lorenzo Fiorito)

DON GIOVANNI
«…Remigio 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» (Carla Moreni)

EVGENIJ ONEGIN
«Carmela 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 of the “letter scene” would be enough, and they are carried out with turbulent mastery and powerful stage presence: more than applaud her we must thank her» (Sandro Compagnone)

DON GIOVANNI
«…No other Anna can compete with Carmela Remigio, who […] 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’s» (Elvio Giudici)

DON GIOVANNI
«Carmela Remigi’s 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’s fundamental traits and which have been so perfectly rendered by this great artist» (Elvio Giudici)

TOSTI, ROSSINI
«The Italian soprano from Pescara […] initially offers a handful of songs by Francesco Paolo Tosti followed by a delightful choice of “fogli d’album” (album pages) from Rossini’s 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» (Enrico Girardi)

NORMA
«The 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’s 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» (Nicola Salmoiraghi)

DON GIOVANNI
«Carmela Remigio is truly excellent, the evening’s best performer, returning to Donna Elvira after only a few months from interpreting Donna Anna in Don Giovanni at La Scala; but as just said she seems to have made the character her own. After the opening aria “Ah, chi mi dice mai”, 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 “Mi tradì quell’alma ingrate” are there to prove it, the latter being greeted by a well deserved ovation» (Ugo Malasoma)

MARIA STUARDA
«Making 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» (Luigi Bellingardi)

LA DONNA SERPENTE
«Carmela Remigio’s 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 of “Vaghe stele dell’Orsa maggiore”, with no orchestral accompaniment, the soprano offered a natural style so close to Monteverdi, almost improvised and apparently detached from rhythmic rigor» (Lodovico Buscatti)

LUCREZIA BORGIA

«The 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». (Marco Faverzani | Giorgio Panigati)

INTERVIEW