“STABAT MATER”-Rossini at the Théâtre des Champs-Elysées
Le Quis est homo est d’un subtil raffinement accru par le beau mariage de timbres que représente son duo avec Roxana Constantinescu. La mezzo soprano est la belle découverte de la soirée, appelée à remplacer Varduhi Abrahamyan. Le timbre est homogène, la voix souple et fluide, le grain pur et très séduisant. À cette “belle voix” s’associe une technique éprouvée qui produit un chant sans affectation et d’un très grand naturel. A écouter la douceur de son Fac, ut portem, on a envie de l’entendre dans des cantates françaises tant sa voix semble faite pour cela.
(Jean-Luc Izard-Operaphile)
“B-MINOR MASS” in Fort Lauderdale
Roxana Constantinescu, a distinguished baroque specialist, displayed a sizable warmly coloured mezzo in the “Laudamus te”. Her coloratura spanned a wide range without scooping or breaks in register. Soprano Regula Mühlemann’s high, soft timbre contrasted with Constantinescu’s weightier voice in the duet “Et in unum” one of the evening’s vocal highlights. The performance appropriately reached its climax with Constantinescu’s patrician shaping of the “Agnus Day”.
(South Florida Classical Review)
…”Laudamus te”, a concerto like duet with mezzo-soprano Roxana Constantinescu, the most accomplished among the vocal soloists. The mezzo excelled in long-breathed phrases matching those of her violin cohort, later colouring her lovely sound for the sadder expressive need of “Qui sees” and the eloquence demanded in “Agnus Dei”.
(Robert Croan-Palm Beach Arts Paper)
“NORMA” at the Teatro La Fenice:
Le ha corrisposto un’Adalgisa – interpretata da Roxana Constantinescu, mezzosoprano dalla voce fresca e corposa, nonché intrisa di femminea grazia – candida ed appassionata, come si è colto, per quanto le compete, nei già citati duetti con la protagonista: bravissime entrambe per varietà di accenti, mezze voci, toni mai eccessivi, oltre che per una dizione impeccabile. Esaltante, a questo proposito, la conclusione della scena terza del secondo atto: “Sì, fino all’ore estreme”.
(Roberto campanella-gbopera.it)
A fianco troviamo un’Adalgisa di tutto rispetto, quella molto virginale, molto espressiva, molto sfumata del mezzosoprano romeno Roxana Constantinescu, capace di tenere testa alla Devia nei loro tête-à-tête.
(Gilberto Mion-teatro.it)
“CENERENTOLA” at the Minnesota Opera:
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
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
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
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
“COSI FAN TUTTE” at the Los Angeles Opera:
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.
Ed Rampell-Hollywoodprogressive
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
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.”
Christie Grimstad-Concertonet
“NORMA” at Zurich Opera House and Teatro La Fenice:
L’unica veramente credibile e intensa scenicamente era l’Adalgisa di Roxana Constantinescu, in una bellissima acconciatura afro e fasciata in un originale costume.(…) Una sorpresa l’Adalgisa di Roxana Constantinescu che è riuscita a rendere tutti i colori degli stati d’animo della giovane innamorata ma fedele al suo giuramento di sacerdotessa e a Norma, giungendo a commuovere in profondità.(“The only truly credible and scenically intense was Roxana Constantinescu’s Adalgisa, with a gorgeous afro hairstyle and wearing an original costume. (…). A surprise Roxana Constantinescu’s Adalgisa who succeeded to express all the colors of her character’s heart as the young, in love, but loyal to her oath priestess and to Norma, proving herself deeply touching.”)
Gianfranco Previtali Rosti-Italia Post
Constantinescu, a Romanian mezzo, is undertaking a major career move here as Adalgisa, her other recent engagements being concentrated around Mozart and Rossini. In spite of the restrictions placed upon her in Wilson’s production, she stole the show because she engages with her character’s painful innocence and she connects with her text. Every consonant is propelled by intentionality. And she is striking in an orange dress (costumes by Moidele Bickel) to foil the deep blue one worn by Norma.
Adam Moscoe-Parterre
Roxana Constantinescu est une frémissante Adalgisa, au timbre velouté, agile du grave à l’aigu, soucieuse des nuances, usant de piani alanguis pour exprimer le trouble ou le doute de son personnage.
(“Roxana Constantinescu is a vibrant Adalgisa with velvety timbre, agile from the lower to the upper register, disposing of a variety of nuances and using languorous pianis to express the trouble or the doubt of her character.”)
Yannick Boussaert-Forum Opera
Kunde incarne un Pollione qui a une présence remarquable, sans céder au moindre excès mélodramatique, tout comme Roxana Constantinescu qui incarne excellemment Adalgise, faible et forte, douce et déterminée à la fois. (…) les duos avec Adalgise sont une pure merveille: les deux cantatrices arrivent à un equilibre exceptionnel. C’est l’occasion d’apprécier deux tessitures impeccablement maîtrisées au service d’une émotion qui ne faiblit pas.
Danielle Anex-Cabanis-Utmisol
“LE NOZZE DI FIGARO” at Teatro Campoamor, Oviedo
La más aplaudida del reparto fue Roxana Constantinescu, que encarnó a Cherubino con especial acierto. Todo sobre la escena estuvo bien planteado y nos recordó con claridad lo más propio de ese personaje mágico trazado en su día con inusual talento por Da Ponte y Mozart. Incluso dejó el momento lírico más bello de la noche al cantar el aria “Voi che sapete”, uno de los fragmentos más bellos jamás escritos, que además estuvo bien interpretado por la mezzo.
Aurelio M. Seco-Tribulaciones
Roxana Constantinescu interpreta a un Querubino turbador. Este adolescente, aturdido y enamorado de todas las mujeres, pero sobre todo de la Condesa, canta las dos arias más conocidas de ‘Las bodas de Fígaro’: ‘Non so piu cosa son’ y ‘Voi que sapete’. Las dos fueron muy aplaudidas, especialmente la última. Constantinescu tiene un canto muy ligado, muy homogéneo en todos los registros y es una de las interprépretes más destacadas de estas ‘Bodas de Fígaro’.
El Comercio
Cherubino, el doncel que a todas gusta y de todas se enamora, encarnado por la mezzo rumana Roxana Constantinescu, cantó después una de la arias clave de la ópera, “Voi che sapete”, con mucha calidad.
Alfonso Suarez-La Nueva Espana
Del extenso plantel de secundarios conviene destacar, en primer lugar, a Roxana Constantinescu como un Cherubino excéntrico en el que más que nunca la efervescencia hormonal está ya al bode del incendio. Su capacidad actoral convierte a su personaje en un auténtico ‘robaescenas’, que rápidamente se gana al público. Pero, además, Constantinescu posee una apropiada voz, muy limpia, para un personaje que es un joven en plena adolescencia.
Alejandro G. Villalibre-Opera World
Cherubino es el caramelo de toda mezzo y la rumana Roxana Constantinescu unió su juventud vocal con la exigencia del papel adolescente juguetón no exento de momentos deliciosos (Voi che sapete) además de cómicos, cautivando al respetable.
Pablo Álvarez Fernández-pablosiana.blogspot
“Non so più cosa son, cosa faccio” dice Cherubino en su primera intervención, pero lo cierto es que Roxana Constantinescu si tuvo muy claro que hacía y como interpretaba este papel, tan complejo para el artista como divertido para el público. En lo vocal Constantinescu demostró un gran control sobre el volumen de su emisión y un timbre juvenil; en lo escénico una efectiva vis cómica.
Javier Labrada-Platea Magazine
“SIROE” at the Opera Royal de Versailles:
On découvre en Emira une fort intéressante mezzo roumaine, Roxana Constantinescu, entendue en Dorabella à Toulouse en 2011 : son aisance scénique et vocale font d’elle l’un des protagonistes essentiels, et l’on a hâte de la retrouver dans d’autres incarnations (elle sera notamment Adalgisa à Zurich en janvier).
(We discover in Emira a strongly interesting romanian mezzo-soprano, Roxana Constantinescu, heard in Dorabella in Toulouse-2011: her scenic and vocal qualities make her one of the essential protagonists and we look forward to seeing her in other roles (notable will be her Adalgisa in Zurich in january).
Laurent Bury-Le Magazine du Monde Lyrique
La mezzo Roxana Constantinescu (Emira) brûle les planches et darde ses accents furibonds sur son amant et les ennemis de son père.
David Verdier-ResMusica
Lauren Snouffer et Roxana Constantinescou, respectivement Arasse, l’ami fidèle de Siroé et Emira, l’amante qui souhaite tant faire porter à Siroé le poids de sa vengeance, sont de magnifiques révélations. La première nous éblouit par la pureté de son timbre et des vocalises cristalines, tandis que le timbre suave et fruité de la seconde nous ensorcelle.
Monique Parmentier-ClassiqueNews
Vocalement extraordinaire, l’Emira de Roxana Constantinescu s’avère émouvante et nous offre des purs moments de bonheur dans les airs à pyrotechnie variable.)
(Vocally extraordinary, Roxana Constantinescu’s Emira is deeply touching and offers pure moments of joy in the arias of fireworks -like character.)
Pedro-Octavio Diaz-Muse Baroque
“WERTHER” at the Minnesota Opera:
As Charlotte, Roxana Constantinescu was similarly distinguished, her phrases long-breathed, her dark-hued mezzo encompassing both charm and chill. In the moonlight scene, she seemed aglow and her letter scene was a marvel, its shifting emotions vividly conveyed.
Lawrence Fuchsberg-Opera News
The star of the evening was the Romanian mezzo, Roxana Constantinescu, an ideal Charlotte. Beautiful voice which really opened up during the climatic moments.
Franklin Adler-Rec.Music.Opera
Roxana Constantinescu is a warm Charlotte; her velvety mezzo manages to seem both alluring and maternal.
Larry Fuchsberg-Star Tribune
“DON GIOVANNI” at the Los Angeles Opera:
The best of the women was Roxana Constantinescu as Zerlina, a vivid presence with a sweetly warm, fruity mezzo voice. In keeping with her timbre, she played a sensual, cunning, almost Musetta-like Zerlina, rather than the “innocent led astray” that light soprano Zerlinas tend to be.
PaminaOpera
Roxana Constantinescu was delicious as Zerlina, the flirtatious but very loyal newlywed that the Don tries unsuccessfully to seduce. She was every inch a charmer, the kind of girl you might wish you could bring home to mother: all laughter, all fun but with a good heart.”
John Farrell-Daily News
My favorite of the female cast; however, was Romanian mezzo-soprano Roxana Constantinescu as Zerlina. She was born to this role-the perfect, pretty, flirty peasant girl with a beautiful voice to boot. When she flashed a big smile at the end of “Batti batti,” knowing she had won over Masetto, all hearts in the audience melted.
Opera Buff
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
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.
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