Giuseppe Ettorre press reviews
Royal Opera House, Covent Garden – ‘Così fan tutte’ – September 2010
"Vocally and dramatically, Rebecca Evans is a Despina of the highest possible class."
George hall, The Stage, 13 September 2010
"Particularly delightful were [Thomas Allen's] scenes with his Despina, superbly realised by Ms. Evans. The two had tremendous chemistry together; like Sir Thomas, she embodied her role with a completeness that seemed intuitive, offering myriad laughs as much during her immaculately delivered recitative as her delectable ‘Una donna a quindici anni’. She sang the part as flawlessly as I have heard it done, her upper and lower register secure and her enunciation spot on. She assumed the disguised roles of the surgeon and the notary with panache; as with Sir Thomas’s Don Alfonso, it is difficult to imagine a more convincing performance of Despina on offer."
John E. de Wald, Opera Britannia, 14 September 2010
"Despina is a role with which it is almost impossible not to triumph, but that should not diminish from Rebecca Evans's success. She is one of the great Despinas of the moment."
Stephen Pollard, The Jewish Cronicle, 21 September 2010
"Thomas Allen's Alfonso and Rebecca Evans' Despina are impeccable."
Tim Ashley, The Guardian, 13 September 2010
"Rebecca Evans is [Thomas] Allen’s match as his wily gopher Despina. Evans makes the most of her disguises as a quack doctor and a fake judge, and she’s even more entertaining with her furtives slurps of Starbuck’s hot chocolate and her ability to sing through a mouthful of doughnut."
Mark Valencia, What's on Stage, 11 September 2010
"Evans was a joy to hear and watch."
Kevin Rogers, classical Source, September 2010
"Vocally, though, the main interest for me was in Rebecca Evans's ideal Despina. Combining a rich tone, an idiomatic sensitivity to the text and impeccable comic timing, her performance could scarcely be bettered. Her arias were both beautifully sung, and her participation in the ensembles was always noteworthy."
Dominic McHugh, Musical Criticism, 11 September 2010
"As the scheming Don Alfonso, Thomas Allen once again gives a supreme performance, wonderfully acted, sung and gestured. He is matched by Rebecca Evans as the sassy Despina; she is a joy to observe and listen to. For these two artists alone this production is worth seeing or returning to."
Colin Anderson, The Opera Critic, 10 September 2010
"Ideal for her role was Rebecca Evans as Alfonso’s co-conspirator Despina, another captivating singer with a wonderful gift for comedy. She reminded me of a younger brunette version of Barbara Windsor and she seemed to have as much fun as the quack doctor and notary, as we did in watching her."
Jim Pritchard, Scene and Heard, September 2010
"The quartet of lovers is expertly manipulated: Evans’s Despina is the fruity voice of guiltfree pleasure."
Neil Fisher, The Times, 12 September 2010
Royal Opera House, Covent Garden – ‘La bohème’ – January 2010
"Rebecca Evans’ radiant Mimì…"
Hugo Shirley, Opera, March 2010
"Rarely have I heard a more musically sophisticated performance than that given by the Polish tenor Piotr Beczala as Rodolfo and the Welsh soprano Rebecca Evans as Mimì. Here was perfect phrasing and intonation, everything sung with real feeling, and a tenderness that was often deeply moving. Evans, one of the leading Mozart sopranos of today moves up with ease for her first big Mimi."
David Mellor, The Mail on Sunday, 17 January 2010
"This current performance signaled Rebecca Evans in her ROH debut as Mimì, a tender, warm and open vocal performance, gently humorous and endearingly timid in character, and dying with dignity: very believable and moving."
Colin Anderson, The Opera Critic, 10 July 2010
"Mimì was sung by Rebecca Evans, marking her Royal Opera debut in the role…all her instincts were honed, as her account in the last two acts displayed, and it was her ability to show off a dramatic core that made her interpretation successful…Evans' Mimì, made this night more than worthwhile."
Kevin Rogers, Classical Source, 11 January 2010
English National Opera - 'The Turn of the Screw' - October 2009
"The cast could hardly be better. Rebecca Evans sings with sweet vulnerability as the naive young governess."
Warwick Thompson, Bloomberg, 29 October 2009
"Rebecca Evans's superbly judged, utterly humane Governess."
Andrew Clements, The Guardian, 23 October 2009
"Rebecca Evans, as the Governess driven to dangerous distraction, returned faultlessly to the role."
Nick Breckenfield, What's On Stage, 23 October 2009
"Rebecca Evans sang with scrupulous care and a degree of fine abandon as the Governess"
Stephen Jay-Taylor, Opera Britannia, 24 October 2009
"The outstanding Rebecca Evans"
Richard Morrison, The Times, 26 October 2009
"Rebecca Evans as the governess sings with power and clarity, charting her journey through hysteria and horror with detailed insight."
Warwick Thompson, Metro, 26 October 2009
"Rebecca Evans sings the Governess almost too beautifully, and acts her with blazing conviction."
Rupert Christiansen, The Telegraph, 26 October 2009
"As the Governess, Rebecca Evans has never sounded better, and I can't imagine the role being more engagingly or movingly performed. Nor could the singing be faulted: a move to a slightly heavier repertoire (Mimi, Liu, Countess Almaviva) has given Evans' voice an extra weight without losing any of the beauty, and the Governess sounds fully sung into her voice. The level of expression she achieves is striking, with numerous colours and textual nuances, while the sheer loveliness of the voice remains a pleasure every time I encounter her. Her first Covent Garden Mimi is something to look forward to in a couple of months' time."
Dominic McHugh, Musical Criticism 26 October 2009
"Rebecca Evans sings the Governess with much beauty."
Richard Fairman, Financial Times, 27 October 2009
"Rebecca Evans and Ann Murray, respectively the Governess and Mrs Grose, are a dual lynchpin of great voices, great characters and complete verbal clarity. Evans is heart-rending, lovelorn over her crush on the children's absent guardian and driven to distraction by her understanding of the children's fate."
Jessica Duchen, The Independent, 29 October 2009
"She is wonderfully warm of voice, right to the extreme high registers of the part...her diction is excellent."
Alexander Campbell, Classical Source, October 2009
"The role of the Governess is often described as Britten’s finest soprano role. It certainly sounded that way in a riveting, note-perfect performance from Rebecca Evans."
David Mellor, The Mail on Sunday, 01 November 2009
Welsh National Opera – ‘Le nozze di Figaro’ – February 2009
"The one big plus was that this production brought together two Welsh sopranos who could hardly have been bettered anywhere. Rosemary Joshua, as Susanna, was making her company debut (why did they wait so long ?), and Rebecca Evans made her role debut as the Countess. Evans’ Countess was gracefully and gorgeously sung, positively aristocratic of tone, with ‘Dove sono’ in particular reaching deep into the heart of this woman’s emotional anguish."
Rian Evans, Opera Magazine, April 2009
"The advent of Rebecca Evans for a full-toned, elegiac 'Porgi amor' immediately increased the intensity of the performance. The role is ideal for the Welsh soprano, who has previously excelled as Susanna all over the world. Emotionally, she seems to connect very deeply with the portrayal of the neglected wife, yet she has enough fire inside her to conquer the Count's nasty ways. What makes her perfectly matched for the part, though, is Evans' voice, which has continued to bloom and was easily in another league to most of the rest of the cast here. The exposed legato lines in the Act 2 finale were elegantly tailored, while 'Dove sono' was dispatched with apparent ease and the duet with Susanna, 'Che soave zeffiretto', was done with an exquisitely creamy tone."
Dominic McHugh, Musical Criticism, 18 March 2009
"The star of the production is unquestionably Rebecca Evans as the Countess. She sings ‘Dove sono’ with tremendous poise and beauty, single-handedly taking the opera way above the gimmickry of the production."
Giles Woodforde, The Oxford Times, 01 April 2009
"Evans has gradually moved her ripening soprano towards the pure lyric roles of Pamina, Mimi and, after 10 years as one of the world’s leading Susannas in Figaro, her first Countess in Luis Pasqual’s production. Evans [is] luxury Figaro casting by any standards."
Hugh Canning, Sunday Times, 22 February 2009
"It is the Countess of Rebecca Evans who scores the heaviest, tender and moving, a beautifully sung and realised portrayal of much lamented lost love."
Jon Holliday, The Stage, 12 February 2009
"Rebecca Evans' Countess was at her dignified best in her Act II ‘Porgi amor’."
Fiona Maddocks, The Observer, 15 February 2009
"Rebecca Evans sang ‘Dove sono’ with such gorgeous tone and poise as the Countess."
Rupert Christiansen, Daily Telegraph, 09 February 2009
"She sang lusciously; in ‘Dove sono’ you could have heard Barbarina's pin drop."
Richard Morrison, The Times, 09 February 2009
"Rebecca Evans' Countess adds a touch of class."
Andrew Clements, The Guardian, 09 February 2009
English National Opera – ‘The Turn of the Screw’ – November 2007
"Rebecca Evans’ soprano sound is among the most beautiful around today and has steadily gained in weight without losing any of its purity [in] her sensitively, gratefully phrased account of the Governess’s role."
Rodney Miles, opera, February 2008
"…led by Rebecca Evans’ faultless Governess. Both strong and vulnerable, it is a debut performance to treasure. Her confrontations with Miss Jessel…have rare edge…Rebecca sparkles amid the gloom."
David Mellor, The Mail on Sunday, 02 December 2007
"Rebecca Evans is wonderfully warm-voiced and expressive in her first Governess."
John Allison, Sunday Telegraph, 02 December 2007
"Evans’ keen lyric soprano expands gloriously into the theatre."
Hugh Canning, Sunday Times, 02 December 2007
"Evans makes an auspicious debut, negotiating Britten's vocal challenges with aplomb."
Anthony Holden, The Observer, 02 December 2007
"Rebecca Evans conveys the initial trepidation, happiness, increasing concern, and then despair, of The Governess - and she also has the vocal power and bloom to encompass the rapturous writing."
Colin Anderson, The Opera Critic, 26 November 2007
"Rebecca Evans' ethereally sung performance…the conflict and turmoil, beautifully conveyed…"
Edward Seckerson, The Independent, 28 November 2007
"She is heartbreaking by the close to cap a highly physical performance of carefully ratcheted intensity."
David Gutman, The Stage, 29 November 2007
"Rebecca Evans was in gorgeous voice as the Governess."
Rupert Christiansen, Daily Telegraph, 28 November 2007
"It’s Rebecca Evans’ beautifully vocalised, perfectly ambiguous Governess around whom this Screw ultimately turns."
Andrew Clark, Financial Times, 27 November 2007
"Evans herself is nearly perfect, matching her vocal means precisely to Britten's notes and their dramatic purpose, and successfully casting doubt on her character's ability to separate fantasy from reality."
George Hall, The Guardian, 28 November 2007
"Rebecca Evans is superb as the naïve young governess."
Warwick Thompson, The Metro, 28 November 2007
"Rebecca Evans, making a potent role debut as the Governess, wisely played down nervy hysteria until the moment it was required."
Fiona Maddocks, Evening Standard, 27 November 2007
"Welsh soprano Rebecca Evans was in a league of her own as the Governess. 'How beautiful it is', she sings in the first act in a rare moment of optimism, but Evans could have been referring to her voice, here at its most exquisite. There's not a weak spot in it; she simply glides up and down every register, projecting strongly and calling to mind her exceptional Covent Garden Pamina in the high floating legato quality she brought to the more lyrical scenes. Indeed, I think the Governess could easily become as much her signature role as Pamina has been for many years, for the clarity of her diction, the meaning and emotion she brought to everything she sang and the sheer beauty of the sound she created at this performance are all too rare qualities."
Dominic McHugh, Musical Criticism, 27 November 2007