"Ricci, who was a knockout in Musica Angelica's recent performance of Handel's Radamisto, was a knockout once more at the Sunday performance. She ended the 90-minute show with Mozart's concert aria, A, lo previdi! (Ah, I foresaw it!). ..."
M. Swed, LA Times
"Ricci, a young French soprano, is a sensation, vital on stage and a dazzling coloratura"
M. Swed, LA Times
"This 8-minute tour de force in which Celine Ricci with perfectly rounded tone, impeccable technique and secure breath control over a two and a half octave range, up and down, besides the crazy capers and wind velocity-like ornamentation, this «Artaserse» [aria] should be to compared to Cecilia Bartoli's Vivaldi album . "
B. Kehrmann, Opernwelt
"Céline Ricci une transcendante virtuosité.."
O. Rouviere, Diapason
"Soprano Ricci shined, especially in arias where she sang subtly, while offering her fluid coloratura, as she did on "Verdi piante." This came after her manic turn on "Non potra dirmi" where Ricci showed off her extreme physicality and pointed soprano... Ricci infused the role with much life, and standout singing."
" Ricci,r is wonderfully flashy in her stupendous bravura aria 'Quando freme'."
BBC Music Magazine
"a telekinetic soprano..."
E. Ortiz, Sacramento Bee
"Celine Ricci, made a strong impression in the sprightly song "Lucinda is bewitching fair'' from "Abdelazer." Bay City News
"Soprano Celine Ricci gave a spirited account of Lucindas aria in the Abdelazer Suite"
Truman Wang, Classical Voice
Real Compania Opera da Camera, Juan Bautisto Otero, conductor
"This 8-minute tour de force in which Celine Ricci with perfectly rounded tone, impeccable technique and secure breath control over a two and a half octave range, up and down, besides the crazy capers and wind velocity-like ornamentation, this «Artaserse» [aria] should be to compared to Cecilia Bartoli's Vivaldi album . "
B. Kehrmann, Opernwelt
"Le rôle d'Arbace, dépositaire des vertus héroïques métastasiennes, est un défi dans le pathétique et la virtuosité. Créé par un des castrats le plus en vogue de l'époque Ventura Rocchetti dit Venturini ce rôle est le véritable moteur de l'opéra et compte un air de tempête,un "air de prison", un air marin et un duo. Ce kaléidoscope musical n'était pas un véritable défi pour Céline Ricci, habituée aux fusées casse-cou d'un Mazzoni dans l'Aminta ou bien aux coloratures de Martín y Soler. Si elle nous ravit dans son air de tempête "Quando freme altera l'onda" à la fin du premier acte, vocalisant avec agilité et un feu d'artifice de couleurs dans le timbre, c'est dans son air de prison, le superbe et inquiétant "Per quel paterno amplesso" que Céline Ricci nous électrise. Accompagnée par les timbales en mode mineur, la chanteuse insiste sur la désolation qui émane de cette sorte de marche au supplice. Adoptant alors une scansion très déclamatoire, la soprano obscurcit sa voix pour rendre avec acuité le sentiment morbide d'une condamnation injuste sans appel."
Muse Baroque, Pedro-Octavo Diaz
Philharmonia Baroque Orchestra, Nicholas Mc Gegan, director
"Soprano Celine Ricci, as the boy, Joas, sang with downy depths. "
Mercury News
"It was wonderful then to see Celine Ricci, a soprano, cast in the role of Joas, King of Judah."
SF Examiner
"Soprano Céline Ricci was touching as Joas, the boy king,"
SF Chronicle
Musica Angelica
"Soprano Celine Ricci continues to charm and disarm, and, when on Love's warpath, re-arm. Opening and closing the program with two secular cantatas for solo voice, she once again displayed an impressive vocal technique, this time with heightened expressiveness in two works that explore the emotions of amorous obsession. Ricci's ability to channel this evocative material makes her a particularly fitting artist to plead the case for baroque opera and its cantata cousins. She can pick far flung notes out of the air perfectly and effortlessly, but her dramatic abilities were what stood out this afternoon. The anger of Courons a la vengeance (Let me haste to vengeance) was palpable in Ricci's knife-like vocal runs; outbursts of stabbing pain were all the more graphic in her use of sharp vibratoless tones, as the metaphoric knife plunged inward."
LA Opus, R. Punt,
Les Arts Florissants, W. Christie, director
"acolytes cocaïnomanes (Céline Ricci et Ana Quintans) sont aussi déjantées scéniquement que vocalement dans leurs duos, qu'elles arrivent à chanter tout en continuant à jouer les surexcitées."
(chanteur.net)
"Céline Ricci dès les pleurs dOrphée (dans lOrfeo de Rossi), se montre convaincante, tant son timbre est troublant, ses colorations poignantes"
(Resmusica)
Musica Angelica, Martin Haselbock, director
"Ricci, who was a knockout in Musica Angelica's recent performance of Handel's Radamisto, was a knockout once more at the Sunday performance. She ended the 90-minute show with Mozart's concert aria, A, lo previdi! (Ah, I foresaw it!). Murdered earlier, the soprano is back in black, a mourner (for herself?), having foreseen nothing, and in a kind of rage that even the ever-collected Unterweger can't quite handle. Although Ricci made the aria work dramatically as a powerful climax to the afternoon, any number of other arias might have as well."
M. Swed, LA Times,
Musica Angelica, Martin Haselbock, director
Ricci, a young French soprano, is a sensation, vital on stage and a dazzling coloratura
M. Swed, LA Times
Céline Ricci's Fraarte was attractively light-toned but often dramatic and always musically sung"
Classical Voice
Céline Ricci fait prevue dune virtuosité étourdissante en Tamiri
J. Bonnaure, Opéra Magazine
Musica Angelica, Jory Vinikour, director
Traversing these extremes of emotions, Ms. Ricci delivered beautifully controlled phrasing of light and shade, with some memorably dramatic accents and word-painting. Her command of the coloratura was skillful and fluid. One really felt she was having a grand ball dispatching the bravura lines with joyfulness and rhythmic buoyancy [...] Another pair of bravura arias, from Rameaus opera Platée, found Mr. Vinikour once again in the supporting role and Ms. Ricci strutting her stuff, more confident than ever and this time with almost demonic fury. She truly believed the words she was singing, Essayons du brilliant! Donnons dans la saillie/let us try
something brilliant! let us go mad!
Classical Voice,
Cleopatras two final arias from Handels Giulio Cesare, Piangero and Da Tempeste, provided Ricci a full range of emotional transformation from despair to triumphant joy. [..] Ricci at times impersonated a vocal ventriloquist, her lips still but passages peeling as rapidly as a keyboards. Two instrumental movements of Handel by the orchestra complimented her vocal numbers in this set. Ricci again soared (with musical laughs, among other vocal novelties) in the recitative Formons les plus brilliant concerts (Let us create the most beautiful concerts) and the aria Amour, lance tes traits (Love, shoot your arrows) from Rameaus Platée."
The Martini Republic,
La Fenice, J. Tubery, director
Der Glanz in Riccis fein geformter Stimme brachte im Dialog mit Richards Schattierungsmöglichkeiten die barocke Rhetorik zum Strahlen. Nicht nur mit der Begleitung, sondern auch mit den instrumentalen Zwischenstücken, formte "La Fenice" ein idealtypisches Ganzes zum Thema frühbarocke Musik. Plastisch und mitreißend für das Publikum.
O Willi Rainer, Kleine Zeitung,
El papel de Arcade tiene una excelente presentación en la voz de la soprano Céline Ricci, delicado sonido penetrante y segura en los agudos."
www.proopera.org.mx
Le Parlement de Musique, M. Gester, director
Französisch elegant ziselierten die beiden Violinen den italienischen Gestus, die Continuo- Gruppe (..) legte ein lebendiges Fundament. () Glanz brachte der dramatische Sopran von Céline Ricci.
Saarbrücker Zeitung,
"Der Glanz in Riccis fein geformter Stimme brachte im Dialog mit Richards Schattierungsmöglichkeiten die barocke Rhetorik zum Strahlen. Nicht nur mit der Begleitung, sondern auch mit den instrumentalen Zwischenstücken, formte "La Fenice" ein idealtypisches Ganzes zum Thema frühbarocke Musik. Plastisch und mitreißend für das Publikum."
Willi Rainer, Kleine Zeitung,
"Symbole de résistance, Céline Ricci incarne la fatale tentatrice du tyran barbare, dominant la distribution avec de nombreuses qualités : souplesse, ampleur, nuance, couleur, expressivité"
Laurent Bergnach, Anaclase.com,
Akademie fur Alte Musik, A. Cremonisi, director
Céline Ricci verleiht der anonymen Unglücksbotin eine glockenklare, ausdrucksstarke Stimme. Frankfurter Allgemeine Zeitung, 01.02.2005 On remerciera Céline Ricci pour la musicalité, nourrie d'un art incontestable de la nuance, et l'expressivité"
- www.anaclase,
sorgte vor allem Celine Ricci in der Partie der Tamiri fur besonders starke musikalische Momente. Mit ihrer flexiblen und ausdrucksstarken Sopranstimme begeisterte sie bereit bei den Tagen Alter Musik in Herne 2004 das Publikum.
Gerhard Menzel, Online Musik Magazine
