About Roxana Constantinescu's Angelina there can be no difference of opinion. This fetching Romanian, who makes her American stage debut with these performances, is a world-class coloratura mezzo-soprano. From her rich lower register, reminiscent of a vintage port wine, to her radiant top, her singing is seamless. Her acting, too, is remarkably accomplished; she can telegraph shades of vulnerability, determination and confusion in the blink of an eye. It takes no clairvoyance to foresee a brilliant career for her.
Larry Fuchsberg-Star Tribune
Making her American stage debut, Romanian mezzo-soprano Roxana Constantinescu is unforgettable in the lead role of Angelina. Gifted with a luxurious timbre, Constantinescu mesmerizes with evocative force. Embodying the resplendence of her role, Constantinescu radiates the ethereal benevolence at the core of Rossini's work. So enticing is Constantinescu's voice that her spotlight moment, the emotionally charged Nacqui all'affanno ... Non piu mesta, proves absolutely entrancing.
Brad Richason-Examiner Minneapolis
The amoral friend Alfonso is paired with the amoral maid Despina, played to the hilt by talented mezzo Roxana Constantinescu, perhaps the strongest singer among the women.
Marc Porter Zasada-Huffington Post
Despina is played by the best thing about this superlative production, Roxana Constantinescu. The Romanian mezzo-soprano portrays the lusty, saucy servant girl with great zest and comic panache. An operatic kleptomaniac, Constantinescu – who actually has a triple role — steals every single scene she’s in, and rarely has the Dorothy Chandler’s stage been graced by a more gleeful, effervescent presence. Constantinescu is perhaps the best export from Romania since Nadia Comăneci, and may become to opera what Nadia was to the Olympics. But if it’s the last thing you do in your life, for sheer hilarity, don’t miss coquettish Constantinescu’s delightful Despina in Cosi Fan Tutte, Mozart’s merry, madcamp realm of the senses and songs.
In her American stage debut, Roxana Constantinescu went deeper still, combining poise, vulnerability and an affectingly feminine warmth in her portrayal of Angelina. Her sturdy mezzo is exceptionally rich in timbre; her coloratura, neither brittle nor mechanical, seems an authentic expression of her sensibility.
Lawrence Fuchsberg-Opera News
A discovery was another romanian mezzo, Roxana Constantinescu, a Despina with depth and a sparkle in her eye and voice.
Mark Swed-Los Angeles Times
And one thing this performance had Sunday was believability, even when the opera was at its most farcical. A discovery was another romanian mezzo, Roxana Constantinescu, a Despina with depth and a sparkle in her eye and voice.
Los Angeles Times
Perhaps our favorite performance, though, was Roxana Constantinescu's cheeky Despina, Her aria urging the sisters to capitalize on the opportunity presented by their unexpected abandonment ("You expect that men, soldiers, are going to be faithful to you? Ha!...") all but steals the first act.
Finally, there’s Roxana Constantinescu’s mischievous Despina who’s an absolute treasure. She not only sings with velvety softness, her impish delights are like “icing on a cake.”
"Mezzo Roxana Constantinescu is entrusted with the trickiest of these whiplash-inducing turns as the heroine, Charlotte, but she negotiates them with grace and a pure tone, especially during a finale full of heartbreak."
"Roxana Constantinescu is a warm Charlotte; her velvety mezzo manages to seem both alluring and maternal."
The star of the evening was the Romanian mezzo, Roxana Constantinescu, an ideal Charlotte. Beautiful voice which really opened up during the climatic moments.
…the leading Mezzo soprano, in the role of Charlotte, Roxana Constantinescu. She has a gorgeous “Straussian” Mezzo voice and delighted us with her agility and power. In addition to fine signing from these principals, their acting and stage craft were of a very high order.
Dr Mark Says
Mezzo Roxana Constantinescu brought her operatic prowess to bear, as she delivered her arias with riveting passion and drama. Sounding utterly celestial when singing the part of an angel, and full of virulent anger as the spiteful Jezebel, the Romanian-born singer added power and conviction.
Terry Mcquilkin-The Register Guard
The level of emotional tension evoked by the Romanian mezzo-soprano Roxana Constantinescu is musically engaging and thematically uplifting. This is perhaps further aided by Ms. Constantinescu's diligent grasp on the Buhr's score for the mezzo-soprano and her likewise apt and free interpretation capturing the very essence behind Sweatman's original libretto.
Ms. Constantinescu radiates in her role with introspection and emotional luminosity. She brings sensitivity in the text by accentuating on the character of the songs differently, by mixing a variety of accents and rhythmical gestures to align with the poems. Altogether, her voice matches comfortably in both its colour and lustre with the accompanying TSMF ensemble musicians. In both Der Einsame im Herbst (The Lonely One in Autumn) and Von der Schönheit (Of Beauty), she sings with ebb and fluidity that is necessary to attune with the melodic transitions. One of the highlights is Constantinescu's adeptness to rise and fall with ease in her vocal breath to illustrate the emotional details accompanying the musical line. It is in Der Abschied (The Farewell) that her voice soars to the fullest of character; it matches the challenges of a "floating" tempo as Mahler instructs on his performers.
Patrick P.L. Lam-Tokafi
"There's something very special about her, and I was so taken with the sound of her voice," Johnson said. "It's so dark and chocolatey and sensuous."
Dale Johnson-Minnesota Opera
Romanian mezzo-soprano Roxana Constantinescu made a triumphant American debut to standing ovations and packed houses. Of Miss Constantinescu, one critic gushed, "From her rich lower register, reminiscent of a vintage port wine, to her radiant top, her singing is seamless. It takes no clairvoyance to foresee a brilliant career for her." Minnesota Opera Artistic Director Dale Johnson first heard Miss Constantinescu sing at Vienna Staatsoper and persuaded her to make her stateside operatic debut in downtown St. Paul, Minnesota. Johnson has promised a return for the charming Romanian in a coming season, but is being coy about exactly when and in what role. The many shouts of "brava!" for her final bow made it clear that Minnesotans will likely come out in large numbers again to see her perform.
Valerie Nahmad Schimel-Knightarts
Constantinescu played an endearing Angelina, highlighted by a warm, velvety tone full of connection and lyricism. Her performance of the lyric canzone "Una volta c'era un re" executed exquisite long lines coupled with impeccable phrasing. Her tour de force aria of Act II, "Nacqui all'affanno, al pianto," shimmered with impeccable, perfectly rhythmic coloratura lines.
Sarah Luebke-Opera Today
The beautiful, petite and wonderfully-voiced Romanian mezzo soprano Roxana Constantinescu, was everything one might wish for.
Each member of the cast brings powerful talent to the stage, from the Robert Lloyd's robust bass vocals as Frer Laurent (Friar Laurence) to Roxana Constantinescu's stunning mezzo-soprano as Stéphano.
Lauren Smart SMU Daily Campus
One of the less expected highlights of the evening however came by way of Romanian mezzo-soprano Roxana Constantinescu. Constantinescu was engaging in the trouser role of Stéphano, Romeo's page. Nearby whispery buzz during the second intermission by those seated around us included "She's my favorite!" and "She's stealing the show!" Constantinescu's performance was definitely a very entertaining treat.
The flash list
The guest artist playing Stéphano, Romeo's page, Romanian Roxana Constantinescu, delighted during her first appearance at TDO.
A discovery was the young romanian mezzosoprano Roxana Constantinescu, who in Lachner's music through the richness of her expressions and her voice's versatility became the main attention.
Benedikt Stegemann-Frankfurter Allgemeine Zeitung
Roxana Constantinescu celebrated eternal high tones, let them electively velvety-warmly shimmer or bodyless shine and carried them away to sensitive Smorzando. Just as perfect, controlled the singer the unleash dramatic attacks. A mezzo with "Tosca" qualities, whom the audience with stormy applause rewarded.
Benedikt Stegemann-Frankfurter Allgemeine Zeitung
No question, the discovery was Roxana Constantinescu. In Schubert's "Erlking" slipped her voice with tremendous intensity in the roles of the 3 protagonists; sighed the seductive syllables of the Erlking, let free the febrile panic of the child and underlined from the calming words of the father the hidden oppressive fear. Also in Raff's songs showed Roxana Constantinescu the abundance of her interpretive skills.
Christian Hoesch-Frankfurter Allgemeine Zeitung
...but the shining light of the premiere was Roxana Constantinescu who took over at short notice. What this Romanian Rosina displayed in skilled coloratura, mezzo richness and beautiful top notes, must surely be considered extraordinary.'
Markus Schwering-Kölner Stadt Anzeiger
Roxana Constantinescu sang with an intensive, radiant-dark, virtuos in coloraturas flexible mezzo and a convincing stage presence; marvelously dark and burning, but also self controlled."
Klaus Kalchschmid-Süddeutsche Zeitung
'Stravinsky's Pulcinella was the last piece performed, a neo-classical ballet that comprised Roxana Constantinescu, mezzo-soprano; Nicholas Phan, tenor; and Kyle Ketelsen, bass-baritone.
The piece, with all its whimsy, was curiously offset by the hauntingly enrapturing voice of Constantinescu
Devin Kidner-Making Chicago Home
Roxana Constantinescu sung Fatima, Rezia's confidante and was perfectly suited to the role, using her attractive voice and looks with elegance and charm .
MusicWeb International Jose Irurzun