Canadian mezzo soprano, now resident in Norway, Lucia Cervoni studied at the Manhattan School of Music‚ where she received numerous awards and scholarships‚ including the Hugh Ross Award and the Anna Case Mackay Grant from Santa Fe Opera. She was a member of Seattle Opera’s Young Artists Programme‚ where she performed roles such as Mrs Grose The Turn of the Screw and Carmen in Peter Brooks’ The Tragedy of Carmen‚ and won the Washington International Singing Competition in 2007.
Recent and future engagements include Fox The Cunning Little Vixen‚ Octavian Der Rosenkavalier and Sister Helen Dead Man Walking (Welsh National Opera)‚ Penelope The Return of Ulysses (Longborough Festival), Carmen (Kitchener Waterloo Symphony‚ Canada)‚ 1st Maid Elektra (Verona), Amastris Xerxes (Handel Festspiele‚ and Theater Magdeburg)‚ Suzuki Madama Butterfly (Dorset Opera Festival and Den Jyske Opera)‚ Boesmans’ Julie (Canadian Stage‚ Toronto)‚ 1st Maid Elektra Arena di Verona), Marcellina Le Nozze di Figaro (Norwegian Opera and Ballet), Verdi’s Requiem (The Grange Festival); Auntie Peter Grimes, Amneris Aida, Grimgerde Die Walküre Dorabella Cosi fan tutte‚ Siebel Faust‚ Third Lady Die Zauberflöte‚ Cherubino Le Nozze di Figaro‚ Ulrica Un Ballo in Maschera‚ Mary Der fliegende Holländer‚ Frau Reich Die lustigen Weiber von Windsor‚ Suzuki Madama Butterfly and Donna Isabella Die Braut von Messina (Magdeburg) and Mezzo Soloist in Rossini's Petite Messe Solennelle with Norsk Kammeropera.
As a Fest Artist in Magdeburg she has also sung the roles of Octavian Der Rosenkavalier‚ Charlotte Werther‚ Carmen‚ Hansel Hansel und Gretel‚ Eboli Don Carlos‚ Suzuki‚ Hermia A Midsummer Night’s Dream‚ Niklaus / Muse The Tales of Hoffmann‚ Zita Gianni Schicchi‚ Maddalena Rigoletto‚ Diana Orpheus in the Underworld‚ Tisbe La Cenerentola and Henze’s El Rey de Harlem. Further engagements in Europe include Charlotte (Theater Freiburg) and Suzuki (Staatstheater Schwerin).
Appearances in the USA include Third Lady Die Zauberflöte and Tessa in John Kennedy’s The Trinity (Santa Fe Opera)‚ Cornelia Giulio Cesare(Glimmerglass Opera) and Suky Tawdry The Beggar’s Opera (Castleton Festival‚ under Lorin Maazel).
Notable concert appearances include Handel’s Messiah and Mozart’s Missa Solemnis (Santa Fe Symphony)‚ St John Passion (Singapore Symphony)‚ Mahler’s Die Rückert Lieder Verdi’s Requiem and Beethoven’s 9th Symphony (Magdeburg) and Messiah (South Carolina Philharmonic).
Recordings include Donna Isabella Die Braut von Messina (released May 2016).
And from the opening scene onwards, Lucia Cervoni consistently show Suzuki's anger and resentment at the entitlement displayed by the crass and racially insensitive Pinkerton.
Lucia Cervoni ist eine durchtriebene, stimmlich erstklassige Auntie.
Lucia Cervoni is a sly , vocally first class Auntie.
Gesellschaft das kleinen Badeortes nimmt die Kneipenwirtin Auntie ein, der Lucia Cervoni mit charaktervollem Mezzo Profil gab.
A decisive place in the society of the English seaside resort is occupied by the pub owner Auntie, Lucia Cervoni who gave a characterful mezzo profile.
Erheiternd die Kneipenwirtin, Lucia Cervoni...
The exhilirating pub landlady, Lucia Cervoni...
Lucia Cervoni's heartbroken Penelope is a picture of noble virtue, steadfast as temptations whirl around her...
Cervoni commanded sympathy from the outset and continually drew the audience to her, with singing that could swing on an instant from raw pain to tender longing, but which was at its most powerful as she wrestled, visibly, with her oscillating emotions.
...while Lucia Cervoni's vulnerable Penelope is richly and pliantly voiced...
As Penelope, Canadian mezzo Lucia Cervoni gave a compelling, indelible performance both vocally and emotionally. I would love to hear Cervoni in many other roles, her voice is so strong, rich and lovely. I want to hear her Handel or Mozart, her Verdi, maybe one day her Wagner or Strauss. There is something honey-like about her timbre and also her delivery is continuously expressive.
There’s so much quality here, from Matthew Buswell’s cavernous Neptune/Antinoo and Llio Evans’ beautifully drawn Melanto, to Lucia Cervoni’s voluptuously sung Penelope.
...while Lucia Cervoni gave a nicely detailed performance as the Vixen’s husband.
...Lucia Cervoni a smooth, stately soprano fox, the sort you might (unwisely) trust with your chickens.
Sharp-Ears (the marvellous Aoife Miskelly, beautifully partnered by Lucia Cervoni’s Fox)...
Lucia Cervoni’s portrait of Sister Helen was richly characterized, her voice embracing the whole gamut of emotions from initial doubt to the ultimate shining conviction that De Rocher – in admitting his guilt and expressing regret – could go to this death absolved in the eyes of God.
The moment at the pardon hearing when Sister Helen, played with empathy and grace by Lucia Cervoni, is split between the rising emotions of the families of both victims and convict, and has to face her own moral questions without finding any answers, is also a well-conceived, seamlessly executed scene, which delivers a hefty punch without any trace of preachiness.
With a blend of powerful and gentle music all vocal performances were equally stunning, outstanding performances were given by Lucia Cervoni, Morgan Smith, who played Sister Helen Prejean and Joseph De Rocher. Both gave performances full of passion and conviction.
Sister Helen is played by Lucia Cervoni, in a demanding role, on stage for most of the show. I feel she really absorbed the role and truly understood the dense contradictions within. She conveys the faith of the role well with a soaring voice, made special at the very end of the piece. A gospel song sung by children is heard throughout the opera, but to hear Cervoni sing this a-cappella in a powerful reprisal ends the show with a shudder down the spine.
Sister Helen (Lucia Cervoni) and Joe (Morgan Smith) make potent, sensitive protagonists…
There were a number of very powerful individual performances. Canadian mezzo Lucia Cervoni was in fine voice as Sister Helen. She convincingly presented the character’s determination to confront Joseph and to put before him a human face embodying God’s love of ‘his children’.
Are the victims in all this forgotten? It’s a question that Lucia Cervoni’s passionate Sister Helen grapples with, and which is a more than valid concern.
Cervoni’s portrayal was superbly crafted; her journey from a naïve nun, teaching young children, to dealing with a cold-blooded killer was detailed, nuanced and emotionally complex. Positive, optimistic, but without experience in such matters, she comes under intense pressure from every quarter, including De Rocher who keeps lying to her and pushing her away, but eventually emerges stronger, with her faith in God intact. It was an excellent performance that captured the emotional roller-coaster of the role.
Vocally, Cervoni was perfectly suited to the role. Her singing was securely grounded, agile and characterized by clear articulation, so that every word could be easily understood, and despite her, at times, emotionally fraught state her singing was also attractively rendered. Moreover, her phrasing was subtle and detailed so that her inner turmoil, her shifting emotions, her hopes and fears, disappointments and belief in God were made evident, and made her relationship with De Rocher believable.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
Tjenestepigen Suzuki... - velsunget og velspillet af Lucia Cervoni /// The maid Suzuki... - well sung and well played by Lucia Cervoni
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
...foruden Lucia Cervonis gribende loyale tjenestepige /// ...in addition to Lucia Cervoni’s poignant loyal maid
Lucia Cervoni was the larger-than-life aristocrat Julie‚ the voice rich & full
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 is made up of three stunning Canadian opera performers — Cervoni‚ Frazer‚ and Joynt — whose voices were delightful throughout the show
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!
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
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
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
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
Octavian‚ Der Rosenkavalier Mezzosopranistin Lucia Cervoni einen prachtvollen Octavian /// Mezzo-soprano Lucia Cervoni a magnificent Octavian
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
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"
Lucia Cervoni als Prinzessin Eboli‚ furios bis an die Grenzen /// Lucia Cervoni as Princess Eboli‚ furiously to the limits
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
Zu Publikumslieblingen des Abends avancierten Lucia Cervoni als Prinzessin Eboli /// The public’s favourite of the evening was Lucia Cervoni as Princess Eboli
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
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
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
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
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
...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
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
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
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
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
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
Lucia Cervoni‚ a mezzo-soprano‚ sang well as Cornelia
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
Another winning portrait is that of Lucia Cervoni as Cornelia‚ widow of Pompey‚ a grieving‚ endangered and‚ later‚ a take-charge figure
Lucia Cervoni brought a rich mezzo-soprano and warm sympathy to the older Tessa
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?"
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
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