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Reviews 

Dulcinée, Don Quichotte, Massenet

 

    “What to say about mezzo-soprano Luisa Francesconi? The lady always performs at a high level and this time wasn’t different. Her voice has the adequate color, seductive and crystal clear,  and she lavishes on the vocal technique with unique refinement. Her Dulcinée had a precise acting performance.”

(http://operaeballet.blogspot.de/2016/03/don-quixote-abre-temporada-de-operas-do.html)

 

        “As Dulcinée, her singing and scenic performance were perfect. She knew how to embody a Dulcinée that was sensual, flamenca, surrounded by her admirers, but also sensitive and sincere, who is moved by Don Quichotte’s purity of love, a love that was so far unknown to her.”

 (https://fabianacrepaldi.wordpress.com/2016/03/05/dom-quixote/)

 

        “The performer responds very well, both in the vocal as in the scenic aspect. Her face changes are remarkable, revealing the character’s emotions. Her beatiful voice fits in perfectly with the beautiful score excerpts.”

 (http://www.movimento.com/2016/04/o-mundo-e-um-moinho/)

 

         “The mezzo-soprano Luisa Francesconi interpreted Dulcineia  with great presence and a really suitable voice. Since her first act aria, Quand la femme a vingt ans, the artist showed her strength. Her duets with Dom Quixote, Vous êtes, mon seigneur (first act) and Oui, je souffre votre tristesse… (fourth act) were really musical, but her most remarkable moment in the whole performance was the delicate, touching and imaculate rendering of the aria Lorsque le temps d’amour a fui, just before singing the song Alza! Ne pensons qu’au plaisir d’aimer. Francesconi offered Rio’s audience a performance that will remain in our memories.” 

(http://www.movimento.com/2016/04/rara-poesia/)

        

 

Armide, Renaud, Sacchini

    

    “La mezzo brésilienne Luisa  Francesconi réunit toutes les qualités pour réussir les défis et les enjeux d’Armide. Le velours cuivré de son timbre, son médium charnu, ses aigus remarquablement couverts et placés, l’articulation  donc l’intelligibilité, surtout le jeu  très  économe produisent une  héroïne  de bout en bout captivante  dont l’air inoubliable “Barbare amour”, sont les jalons  d’une interprétation superlative. La cantatrice  qui chante Carmen et aussi  Charlotte  de Werther  de Massenet,  offre  lors des deux soirées une leçon  d’intelligence vocale  et de grande sensibilité  théâtrale. Intensité  contenue qui contraste d’autant mieux avec l’agilité  plus décorative des autres personnages..” 

(http://www.classissima.com/fr/news/411865-compte-rendu-critique,-op%C3%A9ra.-salle-cecilia-meireles,-les-21-et-22-mars-2015.-sacchini-:-renaud,-cr%C3%A9ation.-luisa-francesconi-(armida).-..-osb-orchestre-symphonique-du-br%C3%A9sil.-bruno-procopio,-direction.-version-mise-en-espace./)

 

        “The mezzo-soprano Luisa Francesconi (Armide) overwhelmed the audience with her seductive character. Just like the main opera character used her charms to win over everybody around her, Francesconi used her talent at its best to dominate the whole scene. Her privileged voice, combined with the most suitable character’s stage presence, made her Armide an unshakable triumph! Bravissima!” 

(http://www.movimento.com/2015/03/o-triunfo-de-armide/)

 

Carmen, Carmen, Bizet

 

    “In this opera, the mezzosoprano Luisa Francesconi, that brought Carmen to life, stole all the glances from the audience, not only because she was playing the main character, but also because of her powerful vocal color, her beauty and the sensuality she transmitted from the stage”  

(http://www.eluniversal.com.mx/notas/911001.html)

 

    “... all the singers performances were good; especially Luisa Francesconi (a Carmen with a warm voice)”   

(http://eleconomista.com.mx/entretenimiento/2012/09/23/opera-carmen-que-quilombo)

 

   “And if we have seen and listened to a lot of Carmens, in all medias and places, the brazilian mezzosoprano Luisa Francesconi, summoned here, combined vocal and acting attributes as well as the sensuality skills that the much known role demands. Beautiful and seductive, she convinces even in the many modern dance excerpts, where her sensibility and latin wit appear.” 

(http://www.siempre.com.mx/2012/09/carmen-la-sinrazon-razonable/)

 

Charlotte, Werther, Massenet

Dorabella, Così fan Tutte, Mozart

    

    “Dorabella has been interpreted by sensational Brazilian mezzo Luisa Francesconi. The voice was big, with beautiful timbre, always in tune, and artistically her interpretation was flawless.” 

(http://fanaticosdaopera.blogspot.com.br/2012/01/cosi-fan-tutte-teatro-de-sao-carlos.html)

 

Rosina, The Barber of Seville, Rossini

 

    "The mezzo-soprano Luisa Francesconi. (...) was the major highlight of the opening night. (...) Her mezzo coloratura technique is flawless, and it is a delight to hear her singing. The great Rosina’s aria ‘Una voce poco fa’ was very well played. It is a pleasure to greet Francesconi at Rio again."

(Leonardo Marques, movimento.com, November 26, 2010)

 

    "...a Rosina (Luisa Francesconi) able to manage very easily the terrible coloraturas required by the role."

(Luiz Paulo Horta, O Globo newspaper, November 26, 2010)

 

Dinah, Trouble in Tahiti, Bernstein 

    "Highlight for Luisa Francesconi (Dinah), which was an actress (and singer! Yeah) worthy of a great theater ... This singer has an impeccable technique to which she applies a very appropriate expression. An actress to rock! Warning, do not let her escape! Good English diction. The theme ‘There is a garden’ was ‘outstanding’. Congratulations and best wishes for more performances at the Sao Carlos Opera House."

(Placido Zacarias, operalisboa.blogspot.com website, May 22, 2010)

 

      "... and Luisa Francesconi (Dinah), responsible for the best performance of the night."

(Jorge Calado, Expresso newspaper, January 23, 2010 - Trouble in Tahiti)

 

     "...the Brazilian mezzo Luisa Francesconi, who played Dinah, the long-suffering wife of Trouble in Tahiti, did it both vocally and theatrically perfect. Luisa’s Dinah was poignant, funny, sensitive, and displayed a refined, explosive and contained femininity, in a performance full of contrasts, fully appropriate to the emotionally unstable wife in the face of her barren marriage, which would have pleased Bernstein himself. One outstanding  value of the Luso-Brazilian lyric that asks just one opportunity to blossom into the international stages."

(critical-spectacle.blogspot.com, January 16, 2010)

 

Nerea, Niobe, Steffani

 

      "The performances of... and mezzo-soprano Luisa Francesconi (Nerea) were excellent."

(Manuel Pedro Ferreira, O Público newspaper, March 30, 2010)

 

Madamigella Dangeville, Adriana Lecouvreur, Cilea 

    "Nimble and graceful, as befits actresses of the Comédie, Oriana Kurteshi (Madamigella Jouvenot) and Luisa Francesconi (Madamigella Dangeville)."

(Francesco Rapaccioni, with Ilaria Bellini, teatro.org, February 21,2010)

 

Dido, Dido and Eneas, Purcell

    "Dido’s famous Lament was impressive, in a touching Luisa Francesconi’s interpretation. This Dido and Eneas is one of those events we want to recommend everybody."  

 (Nelson Rubens Kunze - director-editor of Concerto magazine, December, 15 2008)

 

    "Luisa Francesconi sang, beautifully, the famous Dido’s suicide aria.” 

(Arthur Nestrovski - Folha de S.Paulo newspaper, December 10, 2008)

 

Isabella, L’Italiana in Algeri, Rossini 

    "The mezzosoprano Luisa Francesconi, with beautiful coloratura and proper stage presence, was a young Isabella.”

(Opera magazine, Italy, October 2007)

 

   "...and the Magnificent Luisa Francesconi, who has completely dominated the stage... and charmed everyone with her lively Isabella. She has not only a beautiful voice, very strong and colorful, but is also an excellent actress. Very good."

(Poletti,fonografio.zip.net, July 2007)

 

      "Physique du rôle and vocal adequacy were joined so that Luisa Francesconi's Isabella could be elegant and feminine but at the same time have the right measure of malice and determination to manipulate both the bey and Taddeo."

(Lauro Machado Coelho, Estado de São Paulo newspaper, June 2007)

 

Cherubino, Le Nozze di Figaro, Mozart

    "... and mezzo-soprano Luisa Francesconi (Cherubino), who sang very well indeed."

(Pedro Boléo, O Público newspaper, May 4, 2010)

 

   "Another singer who had one of the greatest performances of her career was the mezzosoprano Luisa Francesconi, who offered us an excelling Cherubino. Her aria Voi che sapete was brilliantly interpreted at the première. Her sweetness and delicacy in acting the role were remarkable. Today, more than two months after the première, it’s still possible for me to remember her face expressions during the performance."

(Leonardo Marques, movimento.com, July 15, 2007)

 

    "The admirable Luisa Francesconi stood out among the ladies, offering a firm-toned boyish but sensitive Cherubino."

(Rodrigo Maffei Libonati,  wordpress.com, May 13, 2007)

 

     "...and Luisa Francesconi's impetuous and lovingly performed Cherubino."

(Clóvis Marques, Opinião e Notícia, April 30, 2007)

 

Romeo, I Capuleti ed I Montecchi, Bellini

    "...and Luisa Francesconi, perfects as Juliet and Romeo, both soloists of high vocal level."

(Maria Teresa Dal Moro, Tribuna da Imprensa newspaper, July 26, 2006)

 

Zerlina, Don Giovanni, Mozart

        "...the truly marvelous Luisa Francesconi exposed the different levels of shortcoming of the performance, offering one of the most engaging mezzo-soprano Zerlinas in my experience. I have to confess I had my doubts on how charming she might sound in such a seductive role after seeing her impressively convincing James Dean-like (and look-a-like) Idamante in Rio. This Protean artist showed herself tonight as the most feminine, volatile and sexy of Zerlinas. Although her tone is unmistakably mezzo-tinted, she successfully adapted her high register to the kind of bell-like sound one would expect in a role like that, beguiling the audience with exemplary renditions of her arias and strong contribution to ensembles." Sei pur vaga, brillante Zerlina.(Rodrigo Maffei Libonati, wordpress.com, June 5, 2006)

 

Idamante, Idomeneo, Mozart    

    "Finally, crowing the whole performance, Luisa Francesconi offered an Idamante to the manner born. Her clean mezzo soprano is deeply rooted in rock-solid low notes, she has all the necessary expressive and technical devices to produce each Mozartian phrasing, has a strong stage presence and looks great. Any opera house in the world would feel proud to feature this singer in this role." 

(Rodrigo Maffei Libonati, http://ihearvoices.wordpress.com, May 18, 2006)

 

      "Luisa Francesconi's Idamante begins a little bit hesitating but grows during the opera to finish in a great performance."

(Luiz Paulo Horta, O Globo newspaper, May 4, 2006)

 

   "...the mezzo-soprano Luisa Francesconi was irreproachable as actress and singer in Idamante's role, the hero’s son. People who were in the front rows, and could see her face expressions, applauded enthusiastically."

(Maria Teresa Del Moro, Tribuna da Imprensa newspaper, May 2006)

 

    "The mezzo-soprano Luisa Francesconi was the night’s highlight: her beautiful voice confronted well Mozart’s score, with good projection, beautiful color and correction in her three arias, with a special focus on the last one, No, la morte non pavento. Luisa has also distinguished herself  in the second act’s trio, Pria di partir, in the duet S'io non moro a questi accenti and in the final act’s quartet Andrò ramingo e solo. Her acting (more difficult  because the character is a man) was of a very good level.”

(Leonardo Marques, movimento.com, April 30, 2006 )

 

Orfeo, Orfeo ed Euridice, Gluck

    "The mezzo Luisa Francesconi (Orfeo) was particularly delightful, offering a rich dark   and flexible voice.”

(Rodrigo Maffei Libonati, ihearvoices.wordpress.com, July 3, 2003)

 

 

*reviews that were not originally written in english were translated by the owner of this website.