Glowing reviews as Elena stars as Pamina at the English National Opera

Opening the English National Opera’s Autumn season Elena Xanthoudakis is staring as Pamina in Mozart’s Magic Flute. In the last revival of Nicholas Hyntner’s iconic 1988 production, Elena was warmly received by both the Public and the critics:

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Reviews:

Elena Xanthoudakis was a pure but strong – rather than fragile – Pamina all the way through, justifying Daniel Heartz’s suggestion that the opera should be titled Pamina. Her Act Two scene with The Queen of the Night was gripping drama in every sense of the word.

Musical Criticism – 18th September – Agnes Kory

Elena Xanthoudakis’ graceful and creamy-toned soprano was well suited to Pamina and she gave a very polished performance, her duet with Papageno “Bei Männern” was one of the vocal highlights of the evening for me, as well as a heartfelt and expressive “Ach, ich fühl’s”.

Opera Britannia – 15th September – Faye Courtney

Young soprano Elena Xanthoudakis gave a poignant and truthful performance as Pamina…

BBC Classical Music Online – September – Hellen Wallace

Elena Xanthoudakis is pure loveliness as Pamina

What’s On Stage – 14th September 2012 – Simon Thomas

Elena Xanthoudakis’s Pamina sounds better and better as the night goes on…

Financial Times – September 16th – Andrew Clark

Elena Xanthoudakis was an endearing Pamina with a sweet-toned, vibrant voice, very much a modern young princess.

Seen and Heard – September 16 – Jim Pritchard

The object of his affection, Pamina, was sung warmly by Elena Xanthoudakis: her aria during the ‘Second Test’ (not cricket!), Tamino having rejected Pamina, contained beauty within sorrow – and it was very seductive, surely enough to melt the Prince’s heart.

Classical Source – September 13th – Kevin Rogers

Elena Xanthoudakis was highly original, even quirky and intense, as Pamina

The Observer – September 15th – Fiona Maddocks

Especially memorable is Elena Xanthoudakis’s Pamina, voiced with shining tone and a fine appreciation of the music’s lyrical contours.

 The Guardian – 14th September – George Hall

Elena Xanthoudakis as Pamina is allowed to be subtler - her bright, shining timbre deployed with tact and sensitivity.

The Stage – September 14th – David Gutman.

Elena Xanthoudakis made for an unusually rich-toned Pamina

OperaToday.com USA – Sept 23th – Mark Berry

And in Blogs:

Capriccio:

Most treasurable is Elena Xanthoudakis whose ultra shiny and youthfully pure soprano is absolutely ideal for Pamina. She sounded best when she let herself go a bit volume wise, easily filling the Coliseum’s dry acoustics with silvery ribbons of legato.

September 13th

Bachtrack:

Elena Xanthoudakis’ voice was sweet and pure in her role as Pamina

September 13th.

PlanetHugill:

Elena Xanthoudakis made a glowing Pamina. Slight of figure, she has a lovely lyric voice, with a strong edge to it and a feisty manner. This came out particularly in [her] the (ed) more misogynistic moments. She was playfully pert in her duet with Duncan Rock’s Papageno, but in her Act 2 aria she sang with a beautiful line and a powerful sense of pain. All in all, a radiant performance.

September 14th – Robert Hugill

GeorgesMusings:

This revival had the good fortune to have Elena Xanthoudakis in great form, singing her heart out and acting with total conviction. The second act was a tour de force and it was very difficult to take our eyes off her.

October 15th.

Check out the photos of the production here 

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