Lucia Cervoni ist eine durchtriebene, stimmlich erstklassige Auntie.

Lucia Cervoni is a sly , vocally first class Auntie.

Neue Musiz Zeitung (June 2022)

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.

Der Opern Freund (June 2022)

Erheiternd die Kneipenwirtin, Lucia Cervoni...

The exhilirating pub landlady, Lucia Cervoni...

Volksstimme Magdeburg (June 2022)

Lucia Cervoni's heartbroken Penelope is a picture of noble virtue, steadfast as temptations whirl around her...

The Times (July 2021)

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.

The Arts Desk (July 2021)

...while Lucia Cervoni's vulnerable Penelope is richly and pliantly voiced...

The Stage (July 2021)

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.

PlaysToSee.com (july 2021)

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.

The Independent (iNews) (July 2021)

...while Lucia Cervoni gave a nicely detailed performance as the Vixen’s husband.

Seen & Heard International (October 2019)

...Lucia Cervoni a smooth, stately soprano fox, the sort you might (unwisely) trust with your chickens.

The Arts Desk (October 2019)

Sharp-Ears (the marvellous Aoife Miskelly, beautifully partnered by Lucia Cervoni’s Fox)...

The Stage (October 2019)

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.

Opera Magazine (August 2019)

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.

Art Scene in Wales (June 2019)

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.

Cardiff Times (June 2019)

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.

The Sprout (June 2019)

Sister Helen (Lucia Cervoni) and Joe (Morgan Smith) make potent, sensitive protagonists…

The Stage (June 2019)

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’.

Seen and Heard International (June 2019)

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.

The Times (June 2019)

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.

Opera Wire (June 2019)

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.

Opera Magazine (August 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.

Opera Magazine (July 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.

BachTrack (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.

Critics Circle (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.

BachTrack (June 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.

Opera Magazine (July 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.

Opera Magazine (August 2017)

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.

NMZ - Neue Musikzeitung (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.

Volkestimme (November 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

Aarhus Stiftstidende (February 2016)

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

Fyens Stiftstidende (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

jcKlassik (February 2016)

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

Politiken (February 2016)

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

Barczablog (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

Concertnet (November 2015)

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

Mooney on Theatre (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!

Musical Toronto (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

Play Anon (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

The Stage Door (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

The Globe & Mail (November 2015)

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 Neue Merker (February 2014)

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

MDR (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

Volksstimme (February 2014)

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

MDR (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

OpernWelt (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

Volksstimme (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

OperaPoint (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

OpernNetz.de (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

Volksstimme (January 2012)

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

Daily Gazette (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

Gay City News (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

Ithaca Journal (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

Ithaca Times (July 2008)

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

New York Times (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

Oneida Dispatch (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 Post Standard (July 2008)