Rebecca Bottone press reviews
Soprano Rebecca Bottone is one of the most versatile performers on the operatic stage today. She gets her charisma from her father, the tenor Bonaventura Bottone, but her chameleon ability is all her own.
Exploits which stick in the memory include her crazy apparition in a flayed-flesh body-stocking in Gyorgy Ligeti’s absurdist fantasy Le grand macabre; her great-coated Forties Tytania in the Garsington production of A Midsummer Night’s Dream; and her rivetingly comic performance in a medley of soubrette roles in the Linbury revival of Powder Her Face.
So it was interesting to encounter her as herself – well, as a soprano in Baroque recital mode – with the Avison Ensemble at Kings Place.
‘Corelli at Christmas’ was the title, but Bottone sang works by contemporaries of that Italian master. Little is known about Philipp Friedrich Boddecker whose ‘Natus est Jesus’ was the first motet she sang, but that merry hymn to maternity allowed the quality of Bottone’s voice to shine: a pure tone with a carrying edge, and here with an additional hint of comedy.
In Giacomo Carissimi’s ‘Salve, salve, puellule’ she presented a kaleidoscope of moods, subtly dramatizing each one, and she wound up with two cantatas by Georg Philipp Telemann, singing these latter so bewitchingly that one could well understand why Bach venerated that great contemporary to the point of making him godfather to his second son.
THE SOUND OF MUSIC
Théâtre du Châtelet
Rebecca Bottone est une Liesl totalement crédible malgré sa différence d'âge avec les enfants. La voix possède la fraicheur et la pureté souhaitée, la légèreté de ses déplacements, sa fine silhouette et son joli minois parachevant l'illusion d'adolesence.Elisabeth Bouillon, www.forumopera.com, 7th December 2011
THE CUNNING LITTLE VIXEN
Rebecca Bottone could well have been born to take the part of the vixen, her voice and size so utterly perfect as she moves from shyness to motherhood.
David Denton, The Yorkshire Post, 22nd July 2011
Rebecca Bottone's charismatic Vixen carried the show, vivacious, emotional and clear-toned. We travelled every step of her up-and-down path and breathed a sigh of relief when she was 'reborn'.Martin Dreyer, Opera Magazine, September 2011
The star of the night was Rebecca Bottone who, from the first aria, charmed with her gentle, but at the same time, dramatic voice which perfectly matched the character of Theodora.Thomas Handzlik, Gazeta Wyborcza Kraków, 28th February 2011