Press

Opera Review: Il trovatore
Richard Covello, Chicago Tribune >>

‘Lack of Verdi singers’ is the usual excuse for Trovatore’s rarity… However, with the entrance of soprano Rose Guccione as Leonora, the genuine article of Verdi singers took over. Guccione’s voice was simply magnificent from top to bottom, beautifully nuanced in all dynamic ranges.

Opera Review: Don Carlo
Laura Emerick, Chicago Sun-Times >>

Soprano Rose Guccione, as a creamy-toned Elisabetta, acquitted herself well, particularly in Act 4’s punishing ‘Tu che le vanita.’

Opera Review: La forza del destino
Laura Emerick, Chicago Sun-Times >>

Rose Guccione… blossomed by evening’s end, especially in Act 4’s prayer, ‘Pace, pace, dio mio.’

Opera Review: La Bohème
Dulce Arroyo, The NEIU Independent >>

…the hilariously dysfunctional couple Marcello and Musetta, played by a lively Wellington Da Silva and Rose Guccione, instantly became some of the crowd’s favorites. Da Silva and Guccione kept the audience laughing by providing comic relief with their constant outbursts against each other of fighting and breaking up, and then kissing and making up…

Operetta Review: Der Vetter aus Dingsda
Snappy double play at Chicago Folks Operetta

M.L. Rantala, The Hyde Park Herald >>

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Operetta Review: Der Vetter aus Dingsda
Operetta and comedy converge in visually stunning piece

J.H. Palmer, Chicago Theater Beat >>

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Operetta Review: Der Vetter aus Dingsda
Smart, whimsical modern German operetta is funny, well-sung and melodious

Tom Williams, Chicago Critic >>

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Radio Interview: Der Vetter aus Dingsda
Tom Williams interviews Alison Kelly about The Cousin from Nowhere

Tom Williams, Talk! Theatre in Chicago >>

“It blew me away how good it was!

Operetta Review: Der Vetter aus Dingsda
Ballet Imports

Andrew Patner, WFMT Critic’s Choice >>

Wonderful singing, particularly in The Cousin from Nowhere.

Recital Review: Guccione rare and memorable
Sean Schulze, The Mercury & Business Report (South Africa) >>

That Ms Guccione is one of the best singers to grace a Durban stage in recent years is without question. [The] programme…revealed an artist of the very highest calibre. Trying to find words to describe Ms Guccione’s voice is no easy task. A golden sound coupled to a soaring legato is one thing, but when married to an innate sense of style and deep artistic involvement the effect is quite mesmerising…Underpinning all this was faultless intonation and a clear pronunciation of the Italian, German and English texts. Somehow, Ms Guccione succeeded in casting that spell that characterises a memorable and rare musical event.

Recital Review: American soprano delights
Anthea Johnston, Sunday Tribune (South Africa) >>

…it takes a real artist to create, as she did, a character or a mood in a few words and a couple of notes. Salome’s aria, from Massenet’s opera, Hérodiade was deliciously sensual, without being arch. Guccione’s rich tone expressed the passion and longing inherent in the score…Mimí’s aria “Mi chiamano Mimí” from Puccini’s La Bohème was simplicity itself. Miss Guccione is obviously a talented actress as well and she certainly has the ability to bring Puccini’s heroines to life. Her versatility was confirmed with Schumann’s song cycle Frauenliebe und Leben. To sing art songs well takes both vocal control, intelligence and acting skills and these Miss Guccione has in abundance…There were more than a few misty eyes when she finished.

Concert Review: Warszawa. VIII edycja Warszawy Singera za nami
Teatr w Polsce (Poland) >>

Niezwykłym wydarzeniem był również koncert przypominający twórczość Mieczysława Weinberga i Ernsta Blocha “The Effect of the Holocaust on 20th Centrury Jewish Composers” w wykonaniu amerykańskiego pianisty Paula Dykstry, wiolonczelisty Iana Maksina oraz skrzypka Davida Liskera z udziałem sopranistki Rose Guccione.

Concert Review: St. Charles Art & Music Festival Closes on High Note
Renee Tomell, Press Newspapers >>

A brilliant concert closed the St. Charles Art and Music Festival…The concert of opera favorites was to feature young opera star Margaret Jane Wray…who became indisposed less than 24 hours before the performance…[R]ising to the occasion with no rehearsal with the orchestra was talented soloist Rose Guccione of Chicago…Standing ovations were plentiful…

Concert Review: Art & Music Festival Garners Ovation
Roald Haase, Kane County Chronicle >>

Rose Guccione, a dramatic soprano now in the Lyric…brought the house down. It was really an incredible concert, with multiple curtain calls…even got a standing ovation before the intermission.

Concert Review: Focus Northwest
Betty Brown & Gloria Vanderborg Moats, North Shore Magazine >>

…Rose Guccione…were among the performers receiving standing ovations at the conclusion of the 16-day St. Charles Music Festival.

Concert Review: A night to remember
John Rizzo, Fra Noi >>

…The soprano, Rose Guccione, was magnificent. Not only did she turn in an exciting and virtually flawless vocal performance, but she projected a modest and unassuming stage presence that is absolutely charming. With no wasted movements or gestures except those in perfect taste, nothing distracted from the music to which she gave everything. She began with “O mio babbino caro”, an excellent first number as it gently established her range and immediately won her audience. This is not the most technically demanding aria, but is very beautiful and it is so familiar that anything less than perfection here could have added more pressure on delivering her subsequent pieces. But she sang this little gem purely and lyrically and thereby neatly set the stage for the more weighty offerings that followed. Of these, like “Vissi d’arte”, “Mi chiamano Mimi” and Liu’s haunting “Signore, ascolta”, it is hard to pick a favorite because they were all sung with perfect intonation, great feeling and ultra-smooth phrasing.

The stunning quality of Ms. Guccione’s genuine spinto and her vast scope of feeling and tonal shading burst gloriously into perspective with the unleashed passion of “Un bel di,” another very familiar aria that can make an audience a bit squeamish if not sung well. Not only did she sing it well, but she connected so directly with the audience that the listeners were swept into that world of emotional rapture and rhapsodic splendor where well-performed Puccini should always take us. Although modesty, sweetness and the kind of feminine vulnerability that is so essential to the interpretation of so many soprano roles mainly define her onstage persona, Ms. Guccione revealed an appropriate seductive aspect to her character portrayal with a sensual and provocative rendition of the “Habanera.” Not only was her dramatic depth further displayed with this number, but her considerable vocal range was also highlighted. Aside from mentioning her outstanding ensemble work from the opening acts of La traviata and La Bohème and the finale of Faust, there’s little more to say right now except that Rose Guccione is a fine young and polished soprano that is as good as you can expect to hear and a real credit to our community.

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