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  Mezzo Sopranos: Lucia Cervoni - Reviews

Mazzoleni Songmasters concert‚ Toronto (January 2019)

'Lucia’s other contribution to the first part of the show was Mercure’s Dissidences; Trois mélodies sur des poèmes de Gabriel Charpentier. The songs place quite different demands on the singer; somewhat frenetic in Les lions jaunes hurlent dans le sable‚ long lyrical lines in Psaume: Le dégaut des chose parfumées et faciles and a need for real power (that we got) in Le cri de joie....
After the break Lucia gave us Mahler’s Fünf Rückert-lieder. This was very fine singer with a wide emotional range. Ich atmet’ einen Linden Duff was lovely and lyrical and the rendering of the great Um Mitternacht literally hair raising (or at least my neck thought so). '

Aida‚ Theater Magdeburg
Opernglas (December 2017)

'Lucia cervoni als Amneris betört dabei mit nuanciertem‚ dunkel schattiertem‚ schön präzise flutendem Mezzo‚ der Derkadenz und Laszivität verströmt.
...ging die Tragödie ihrem traurigen Höhepunkt mit der bestechenden Leistund der kanadischen Mezzos als dramatischauthentische aussingender Amneris letztlich dennoch absolut zufriedenstellend ihrem Ende entgegen /// Lucia Cervoni as Amneris beguiles with nuanced‚ darkly shaded‚ beautifully precisely flowing Mezzo‚ which exudes the cadence and lasciviousness.
... the tragedy finally ended its sad climax with the captivating performance of the Canadian mezzo as a dramatically authentic outgoing Amneris'

Der Rosenkavalier‚ Welsh National Opera
Opera Magazine (August 2017)

'The mezzo Lucia Cervoni had sung Octavian with Theater Magdeburg and her she sang with the added authority of that experience; she succeeded moreover in sustaining her full tone throughout and managed a mannish swagger...And because it’s the sublime Trio that somehow in the end defines the quality of any Rosenkavalier performance - at Strauss’s own request‚ it was the definitive statement at his funeral - it is good to report that the combination of Evans‚ Cervoni and Alder blended wonderfully. '

Der Rosenkavalier‚ Welsh National Opera
Opera Magazine (July 2017)

'Lucia Cervoni’s Octavian is naïve and impetuous but genuinely devoted; her mezzo is wonderfully firm and clean‚ full of youthful freshness. Handsome in a red-trimmed grey frock‚ Octavian bursts with an adolescent swagger - collar turned up‚ sword stabbing the floor between his legs - which is softened by Cervoni’s warm lyricism.'

Der Rosenkavalier‚ Welsh National Opera (June 2017)

'Canadian mezzo Lucia Cervoni (dressed in Act II as a knight in shining armour) impressed as her impulsive young lover Octavian‚ and Louise Alder‚ as the innocent Sophie to whom Octavian is eventually betrothed‚ brought vitality and sparkling tones. Their combined singing for the closing trio truly showed off their collective talent‚ with ensemble and intonation second to none. '

Der Rosenkavalier‚ Welsh National Opera
Critics Circle (June 2017)

'The trio of sopranos – Evans and Louise Alder (Sophie) with mezzo Cervoni – pulled out all the stops: what a team. Evans disappears for much of the show‚ but still managed to dominate proceedings. Cervoni started good and got better in the trouser-role that turns into a frock-and-pinny one before re-breeching‚ if you see what I mean. Her scordatura ‘Mariandel’ went down a treat.'

Der Rosenkavalier‚ Welsh National Opera (June 2017)

'As Octavian her lover‚ Canadian mezzo Lucia Cervoni sang superbly while exhibiting the natural persona of a young man...'

Der Rosenkavalier‚ Welsh National Opera
Opera Today (June 2017)

'The Canadian mezzo-soprano Lucia Cervoni (a principal at Theater Magdeburg) made a nicely touchy Octavian‚ not a little self-obsessed and very much on his dignity. Cervoni very successfully showed the way the young man struggled both with the Marschallin’s philosophising in Act One‚ and with the sudden rush off young love in Act Two‚ bringing out the sense of youthful impulsiveness. This is an opera very much defined by its relationships; Evans‚ Cervoni and Alder really established the sense of the different pulls in this triangle‚ so that when all three characters met for the first time at the end of Act Three we got a strong sense of the different tensions‚ with many pregnant pauses. Cervoni was successfully able to lighten her voice in the upper register so that the three women blended beautifully for a radiant final trio and duet.'

Der Rosenkavalier‚ Welsh National Opera
Seen and Heard International (June 2017)

'As Octavian‚ initially the youthful lover of the Marschallin and ultimately betrothed to Sophie‚ the Canadian mezzo Lucia Cervoni (making her company debut) was impressive‚ secure in tone and pitch and with a sufficient range of vocal colour to convince (within the conventions of the form) both as a young man being a young man and as a young man pretending to be a young girl.'

Der Rosenkavalier‚ Welsh National Opera
The Arts Desk (June 2017)

'Lucia Cervoni’s Octavian‚ similarly‚ is strong on style‚ with lovely warm colourings in every register...'

Der Rosenkavalier‚ Welsh National Opera
The Sunday Times (June 2017)

'Evans heads a trio of Rosenkavalier sopranos of quite special eloquence‚ though‚ as usual these days‚ the soprano role of Octavian is sung by a mezzo‚ the Canadian Lucia Cervoni‚ who ought to be better known here. This was my sixth Rosenkavalier this season‚ and I can’t think of one in which the female trio was more evenly balanced‚ or blended as well in the many duets and trios.'

Der Rosenkavalier‚ Welsh National Opera
The Times (June 2017)

'...while Lucia Cervoni’s Octavian brimmed with youthful passion.

Der Rosenkavalier‚ Welsh National Opera
What’s On Stage (June 2017)

'The Canadian Lucia Cervoni sang the great trouser role of Octavian with tonal beauty and an impressive palette of mezzo colours‚ and she allied these to an irresistible physical performance‚ both funny and endearing‚ as the loved-up teenage aristo...
Small wonder‚ then‚ that Hanus and the three women delivered a final trio of searing‚ aching beauty. '

Julie‚ Theater Magdeburg
NMZ - Neue Musikzeitung (November 2016)

'Die Mezzosopranistin Lucia Cervoni‚ die 2015 schon in der kanadischen Erstaufführung als Julie bejubelt wurde‚ ist eine attraktive‚ spielerisch fordernde Julie‚ die es mit ihrem Auftreten versteht‚ die Enttäuschung über Jean glaubhaft zu vermitteln. /// The mezzosopranist Lucia Cervoni‚ who was already jubilated as Julie in the Canadian premiere in 2015‚ is an attractive‚ playfully demanding Julie‚ who is able to convey the disappointment about Jean with credibility.'

Julie‚ Theater Magdeburg
Volkestimme (November 2016)

'Lucia Cervoni lässt ihren Mezzosopran außerordentlich variabel klingen‚ frauliche Wärme und die vokalen Exaltationen ihres zerrissenen Gemütszustandes wechseln abrupt. Man folgt ihr höchst gespannt./// Lucia Cervoni makes her mezzosopran sound extremely variable‚ frail warmth and the vocal exaltations of her torn state of mind change abruptly. They follow her most excitedly.'

Madama Butterfly‚ Den Jyske Opera
Aarhus Stiftstidende (February 2016)

'Lucia Cervoni var forståelsen‚ trofastheden og indfølingen selv i et smuk præstation /// Lucia Cervoni was the understanding‚ the loyalty and the devotion itself in a beautiful performance'

Madama Butterfly‚ Den Jyske Opera
Fyens Stiftstidende (February 2016)

'Tjenestepigen Suzuki... - velsunget og velspillet af Lucia Cervoni /// The maid Suzuki... - well sung and well played by Lucia Cervoni'

Madama Butterfly‚ Den Jyske Opera
jcKlassik (February 2016)

'Overbevisende var også Lucia Cervoni som Suzuki‚ Butterflys tjenerinde og veninde. De to’s samspil og samklang i deres store scene før Pinkertons tilbagekomst fik den mening‚ som stor operamusik skal have /// Convincing was also Lucia Cervoni as Suzuki‚ Butterfly’s maid and friend. The interaction and the harmony between them in their big scene before Pinkerton’s return made sense‚ in the way great opera music should'

Madama Butterfly‚ Den Jyske Opera
Politiken (February 2016)

'...foruden Lucia Cervonis gribende loyale tjenestepige /// addition to Lucia Cervoni’s poignant loyal maid'

Julie‚ Canadian Stage
Barczablog (November 2015)

'Lucia Cervoni was the larger-than-life aristocrat Julie‚ the voice rich & full'

Julie‚ Canadian Stage (November 2015)

'The three singers are extremely well chosen. Mezzo-soprano Lucia Cervoni‚ a Canadian with a career in Germany where she sings a broad repertory‚ is obviously an accomplished total performer'

Julie‚ Canadian Stage
Mooney on (November 2015)

'Julie is made up of three stunning Canadian opera performers — Cervoni‚ Frazer‚ and Joynt — whose voices were delightful throughout the show'

Julie‚ Canadian Stage
Musical Toronto (November 2015)

'As Julie‚ mezzo Lucia Cervoni‚ American trained and European based‚ made an auspicious Canadian debut. Her rich‚ dark-hued mezzo and alluring stage presence gives the character a knowing‚ world-weary air. Her Julie is an anti-heroine‚ not very sympathetic‚ but then there aren’t any lovable characters in this piece!'

Julie‚ Canadian Stage
Play Anon (November 2015)

'The titular heroine (or perhaps anti-heroine is more appropriate)‚ passionately performed by Canadian mezzo-soprano Lucia Cervoni...Others‚ possibly‚ were so taken with Cervoni’s passionate portrayal of the character‚ in all her dazzling contrasts — sexual power‚ timid girlishness‚ haughty snobbery‚ begging desperation‚ loudmouth demands‚ soft admissions — that it seemed a pity to lose her'

Julie‚ Canadian Stage
Stage Door (November 2015)

'Toronto-born mezzo-soprano Lucia Cervoni‚ whose career has burgeoned in Europe‚ made her first Toronto appearance to enthusiastic acclaim. The clarity‚ depth and heft of her voice along with the fine acting skills that would make her an ideal Carmen also makes her ideal as the would-be Carmen that is Boesmans’ Julie. Cervoni skilfully exchanges the arrogant bright tones of the pre-liaison Julie for the duller‚ more anguished tones of her post-liaison self'

Julie‚ Canadian Stage
The Globe & Mail (November 2015)

'Vocally‚ all three performers sang well. Lucia Cervoni‚ a Canadian soprano singing for the first time in Canada‚ has a fine‚ rich voice to bring to Julie’s character'

Orfeo ed Euridice‚ Staatstheater Wiesbaden
Frankfurter Rundschau (June 2015)

'Sehr schön kamen die quecksilbrigen Stimmen von Stella An (Amor) und Heather Engebretson (Eurydike) zur Geltung'

Orfeo ed Euridice‚ Staatstheater Wiesbaden
Wiesbadener Kurier (June 2015)

'Auch Heather Engebretson zeigt sich nach Verdis Violetta und Mozarts Konstanze wandlungsfähig‚ lässt eine im Liebeszweifel dezent zickige‚ beseelte Eurydike hören'

Der Rosenkavalier‚ Theater Magdeburg
Der Neue Merker (February 2014)

'Einen Octavian von beachtlichem Format stellt Lucia Cervoni auf die Bühne. Die Stimme besitzt in allen Registern Feuer und Leidenschaft. Mir Emphase offeriert sie die Gedanken und Gefühle des jungen Herrn aus großem Hause. Ihre Stimme führt sie dabei stets kontrolliert. Auch darstellerisch weiß sich die junge kanadische Mezzosopranistin bestens in Szene zu setzen /// Lucia Cervoni gives a commanding Octavian on stage. Fire and passion in all registers of her voice. She emphatically expresses the thoughts and feelings of a young nobleman. Her voice leads always controlled. Also illustratively‚ the young Canadian mezzo-soprano knows perfectly set the scene'

Der Rosenkavalier‚ Theater Magdeburg
MDR (February 2014)

'Octavian‚ Der Rosenkavalier Mezzosopranistin Lucia Cervoni einen prachtvollen Octavian /// Mezzo-soprano Lucia Cervoni a magnificent Octavian'

Der Rosenkavalier‚ Theater Magdeburg
Volksstimme (February 2014)

'Octavian wiederum‚ gesungen von der kanadischen Mezzosopranistin Lucia Cervoni‚ meisterte die wahrlich nicht einfachen Partien mit begeisternder stimmlicher Leidenschaft /// Octavian‚ sung by the Canadian mezzo-soprano Lucia Cervoni ‚ truly mastered the not simple role with inspiring vocal passion'

Open-air Concert‚ Bayerische Kammerorchester Bad Brückenau
Main Post (July 2012)

'Charmant und temperamentvoll präsentierten sich Sopran Noa Danon und Mezzosopran Lucia Cervoni...Unglaublich gut sangen Danon und Cervoni: Keine Koloraturen waren ihnen zu anstrengend‚ keine Intervallsprünge zu kompliziert...Exzellent auch das Duett mit Klarinettistin Claudia Sautter und Lucia Cervoni als Sesto mit „Parto‚ parto ma tu ben mio“ aus „La Clemenza di Tito“...Warm ums Herz wurde den Zuhörern bei Lucia Cervoni mit Georges Bizets Carmen-Arie „L’amour est un oiseau rebelle.“ /// Charming and spirited presentation by soprano Noa Danon and mezzo-soprano Lucia Cervoni ... Incredibly well sang Danon and Cervoni : No coloratura were too strenuous‚ no interval jumps too complicated ... Lucia Cervoni was excellent also in the duet with clarinettist Claudia Sautter as Sesto "Parto ‚ parto ma tu ben mio" from "La Clemenza di Tito" ... Lucia Cervoni warmed the hearts of the audience with Georges Bizet’s Carmen aria "L’ amour est un oiseau rebelle"'

Don Carlo‚ Theater Magdeburg
MDR (January 2012)

'Lucia Cervoni als Prinzessin Eboli‚ furios bis an die Grenzen /// Lucia Cervoni as Princess Eboli ‚ furiously to the limits'

Don Carlo‚ Theater Magdeburg
OpernWelt (January 2012)

'Lucia Cervoni räumte mit satt resonierenden Brust- und dunkel schimmernden Spitzentönen‚ dramatischem Furor‚ nie nachlassender Präsenz und intelligent-eleganter Phrasierung regelrecht ab /// Lucia Cervoni brought rich‚ resonant‚ dark shimmering high chest notes ‚ dramatic fury‚ unrelenting presence‚ intelligent and elegant phrasing'

Don Carlo‚ Theater Magdeburg
Volksstimme (January 2012)

'Zu Publikumslieblingen des Abends avancierten Lucia Cervoni als Prinzessin Eboli /// The public’s favourite of the evening was Lucia Cervoni as Princess Eboli'

Erzählungen‚ Theater Magdeburg
Der Landbote (January 2012)

'Lucia Cervoni füllt diese Rolle facettenreich aus‚ burschikos‚ überlegen und geheimnisvoll‚ und ihre Dominanz am Schluss ist ein durchaus pessimistisches Fazit im Sinne eines ironischen Romantikers oder romantischen Ironikers wie Jacques Offenbach /// Lucia Cervoni fills this role from diverse‚ tomboy‚ superior and mysterious‚ and their dominance in the end is a quite pessimistic conclusion in the sense of ironic romantic or romantic ironist as Jacques Offenbach'

Madama Butterfly‚ Theater Magdeburg
Volksstimme (January 2012)

'Die Dienerin Suzuki war mit der dunklen Samtstimme Lucia Cervoni bestens bedient /// The servant Suzuki was well-served with the dark velvet voice of Lucia Cervoni'

Werther‚ Theater Magdeburg
OperaPoint (January 2012)

'Lucia Cervoni kann die vor allem zu Beginn unschuldig-pflichtbewußte und mütterlich wirkende Charlotte gut spielen. Sie singt ihren Part überzeugend‚ wobei der Höhepunkt im dritten Akt liegt Va! Laisse couler mes larmes – Ja! Laß meine Tränen fließen als sie ihre nicht zu verwirklichende Liebessehnsucht erkennen muß und der Klang des Altsaxophons ihre unendlich große Traurigkeit unterstreicht /// Lucia Cervoni plays from the start the innocently dutiful and good motherly Charlotte . She sings her part convincingly‚ with the peak in the third act Va ! Laisse couler mes larmes - Yes! I let my tears flow as they should recognising her unrealisable yearning for love‚ and the sound of the alto saxophone underlining its infinite sadness'

Werther‚ Theater Magdeburg (January 2012)

'Lucia Cervoni präsentiert mühelos und überzeugend die Gefühlswallungen‚ die Charlotte erleben und durchleiden muss‚ von der innigen‚ glühenden Liebeserwartung bis zur Resignation in das ihr zugedachte Schicksal überzeugt sie mit einem warmen Mezzosopran /// Lucia Cervoni effortlessly and convincingly presents the surges of emotion required to experience and endure Charlotte‚ from the intimate expectant ardent love‚ up to resignation of her fate – she convinces with a warm mezzo- soprano'

Werther‚ Theater Magdeburg
Volksstimme (January 2012)

'Lucia Cervoni sang die Charlotte‚ und dies einfach hinreißend. Sie beherrscht alle Ausdrucksmomente vom Lyrischen bis zum Hochdramatischen und verströmt eine wahrhaftige Fülle des Wohllauts. Dabei gelingt es ihr‚ die Wechselbäder der Gefühle‚ ihr Schwanken zwischen Pflicht und Neigung‚ stimmlich darzustellen /// Lucia Cervoni sang Charlotte‚ and was simply gorgeous. She mastered all moments from lyrical expression to the highly dramatic and exuded an abundance of melodious sound. She succeeds in communicating the highs and lows of her emotions‚ vocally expressing her wavering between duty and desire'

Cenerentola‚ Theater Magdeburg
Der Neue Merker (September 2011)

'...Lucia Cervoni als Tisbe konnten sich als eitle‚ herrlich gackernde Schwestern wunderbar in Szene setzen. Da stimmite alles! Von solchen Schnepfen konnte man schwerlich die Augen abwenden. Man hätte etwas verpassen können /// ... Lucia Cervoni as Tisbe‚ the vain‚ glorious cackling sister set the scene wonderfully. I believed everything. You could hardly turn your eyes away. One might have missed something'

Carmen‚ Theater Magdeburg
OperaPoint (January 2010)

'Lucia Cervoni (Carmen) hatte eine sichere Stimmführung. Sie verzauberte mit tiefklingendem kraftvollen‚ dunklen Timbre‚ die in der Höhe strahlend aufleuchtenden Klang zeigte. Sie überzeugte gleich zu Beginn mit der bekannten Habanera: L´amour est un oiseau rebelle – Ja‚ die Liebe hat bunte Flügel /// Lucia Cervoni (Carmen) had a secure leading voice. She enchanted with deep sounding powerful‚ dark timbre‚ which showed a high bright flashing sound. She convinced from the beginning of the famous Habanera : L’amour est un oiseau rebelle - Yes‚ love has colourful wings'

Giulio Cesare‚ Glimmerglass Opera
Daily Gazette (July 2008)

'Mezzo-soprano Lucia Cervoni‚ as Pompey’s widow‚ and mezzo-soprano Aurhelia Varak in the pants role of her son‚ Sextus‚ were passionate and intense'

Giulio Cesare‚ Glimmerglass Opera
Gay City News (July 2008)

'Leading the supporting cast were Canadian mezzo-soprano Lucia Cervoni as the widowed Cornelia...Cervoni‚ a member of the Young American Artists ensemble‚ was lovely to listen to‚ with a contralto colored tone that never became lugubrious but also was glamorously beautiful to behold‚ making the widow of Pompey a totally convincing object of Achilla’s and Tolomeo’s lust'

Giulio Cesare‚ Glimmerglass Opera
Ithaca Journal (July 2008)

'In the role of Cornelia‚ Pompeo’s widow‚ Lucia Cervoni sang her grief-stricken aria “Priva son d’ogni conforto” in Caesar’s tent with touching phrasing. Her duet with the fine Sesto of Aurhelia Varak was performed with a powerful blend of both mezzo voices'

Giulio Cesare‚ Glimmerglass Opera
Ithaca Times (July 2008)

'As Cornelia‚ mezzo-soprano Lucia Cervoni‚ from the company’s Young American Artists program‚ captured the grief and indignant resistance of a woman under attack with a rich and clean vocal sound. (And she managed her tailored clothing and very high heels extremely well.) The mother and son duet at the end of the first act is among the most poignant in all opera; their performance was deeply moving‚ and left very few dry eyes in the house'

Giulio Cesare‚ Glimmerglass Opera
New York Times (July 2008)

'Lucia Cervoni‚ a mezzo-soprano‚ sang well as Cornelia'

Giulio Cesare‚ Glimmerglass Opera
Oneida Dispatch (July 2008)

'Cervoni achieved beautifully rich‚ dark tones in the aria "Priva son dogni conforto" as the beleagured beauty‚ with her sexuality and peril heightened by Berry’s black dresses'

Giulio Cesare‚ Glimmerglass Opera
The Post Standard (July 2008)

'Another winning portrait is that of Lucia Cervoni as Cornelia‚ widow of Pompey‚ a grieving‚ endangered and‚ later‚ a take-charge figure'

The Trinity‚ Santa Fe Opera
Free New Mexican (April 2007)

'Lucia Cervoni brought a rich mezzo-soprano and warm sympathy to the older Tessa'

The Washington International Competition
Washington Post (January 2007)

'Lucia Cervoni has a pleasing mezzo voice‚ sang sweetly and straightforwardly‚ and was especially effective in Samuel Barber’s "Must the Winter Come So Soon?"'

Die Zauberflöte‚ Santa Fe opera
Ionarts (July 2006)

'The three ladies have some of the best music in the opera‚ in my opinion‚ and Sarah Gartshore‚ Paul Murrihy‚ and Lucia Cervoni were a well-matched trio who sang and acted well'

The Tragedy of Carmen‚ Seattle Young Artist Programme
The Seattlest (January 2006)

'In the role of Carmen is the lovely and alluring Lucia Cervoni‚ a mezzo-soprano proclaiming‚ "If I love you‚ my friend‚ beware." ...Don José falls for Carmen almost immediately. This part of the theme – the men who fall so easily in love with Carmen – is perhaps the most believable part of the story‚ as Cervoni herself is quite captivating with her dark eyes and impressive command of the many subtleties we found in her playful smile'