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Reviews
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Most recent review:
Tosca, Nashville Opera, October 8, 2009
Only the performers’ commitment to realism will make it (Tosca) work.
Here it does. Sunnegårdh and Joyner have beautiful voices, but it’s the way they use their vocal instruments that gets us to accept their characters. That’s realized in the wistful way Joyner has Cavaradossi compare Tosca with the Marchessa in the famous Act I “Recondita armonia” aria; the tormented cry that comes from Sunnegårdh’s voice as she questions God in Act II’s also-famous “Vissi d’arte”; and their sometimes fiery, sometimes tender moments together.
Evans Donnell, The Tennessean, 9 October, 2009
Soprano Erika Sunnegårdh gives a stunning performance in the title role. Beautifully sung and artfully acted, Sunnegårdh’s Tosca has all the fiery passion one expects of an operatic heroine, but there is something more in Sunnegårdh’s exquisite portrayal; call it heart, call it soul-whatever it is, it’s stirring and moving.
Sunnegardh’s voice is astoundingly clear and rich, from her lower tones to her brightest high notes. But perhaps most astonishing is her range as an actress, as she portrays singer Floria Tosca’s transformation from a jealous, petulant and girlish flirt to the contemptuous, vengeful woman who stabs her tormentor to death. Sunnegårdh’s exquisitely sung second act aria “Vissi d’arte” is expertly conveyed and so emotionally draining that you cannot help but be shaken by the sheer power exuded by her voice and the impeccably expressed drama of the moment. Compared with her earlier, more joyous moments, it displays Sunnegardh’s terrific range.
Jeffrey Ellis, BroadwayWorld.com
