Counterpoise Ensemble: The Art of Love / Kokoschka’s Doll

In Reviews by admin / October 21, 2017 / 0 Comments

Madylus was an engaging stage presence

(Daily Telegraph)

Embodied by fine mezzo Rozanna Madylus, Alma – truculent, pert, maddening – was glimpsed as the part-siren, part-monster she must have been

(The Independent)

Madylus, in the role of Alma Mahler, gave compelling performances of the songs and also spoke Millington’s linking text.

(Opera Magazine)

Mezzo-soprano Rozanna Madylus rises with assurance to the challenge of the songs’ diverse styles, and gives us a believable Alma in the connecting spoken text by scholar and critic Barry Millington: it’s a sharp portrayal of a woman feisty and insecure, ambitious and unsatisfied, hurting and hurtful.

(Seen and Heard International)

“…What the piece does offer a company dedicated to the development of young artists is a wealth of roles in which a large cast can show their strengths. Here, among the 11 named roles, plus a group of three singing apples – one of many elements, incidentally, cleverly visualised in Simon Bejer’s designs, which provide the evening’s outstanding feature – there’s a wealth of talent on display. Adam Temple-Smith’s Renzo, Filipa Van Eck’s Barbarina, Emma Kerr’s Ninetta and Rozanna Madylus’s Smeraldina, in particular, make their marks vocally and dramatically, as does Tom Verney in the title role of the magical bird, which he also presents as a handheld puppet in another winning feature of Stuart Barker’s production. Lionel Friend conducts a well-prepared musical performance, with the Southbank Sinfonia supplying the secure orchestral underpinning.”

— The Little Green Swallow, The Guardian 3*, George Hall, September 10th 2014

“…while Rozanna Madylus is both funny and touching as Smeraldina, the foster mother who loved her foundlings so much that she went without food to feed them.”

— The Times 3*, Anna Picard, September 8th 2014

“…Madylus offered fluid line and gripping conviction ”

— Ariodante, Yehuda Shapiro, Opera Magazine, June 2014

“But the performance that stole the show for me (apart from a splendid comic cameo by the larger-than-life Stuart Jackson as the ghastly Monsieur Triquet) was Rozanna Madylus’s Filipyevna. It may not be the most demanding vocal part, but Madylus’s singing of it was sprightly and thoroughly engaging – her Act I duet with Anna Harvey’s Madame Larina was the other highlight of the evening – and her characterisation of the elderly nurse was totally believable. I was particularly impressed by a perfect rendering of the gait of a woman who is energetic but cannot walk so well any more”

— Eugene Onegin,

“All six solo singers delivered fully-rounded performances and sang with grace and individuality […] Rozanna Madylus and Maud Miller were radiantly paired in the title roles”

— Hansel and Gretel,

“The uniformly fine soloists seemed to know Colette’s enchanting French text from the inside, led by Rozanna Madylus’s impetuous and touching Child”

— L’enfant et les sortilèges,

“As the Sorceress, Rozanna Madylus in her figure-hugging little white dress was, mercifully, far from the cackling panto-crone of some productions, and her richly coloured voice and erotic presence clinched her strong performance”

— Dido and Aeneas,

“I liked the gutsiness of many of the others, too […] Rozanna Madylus bites into the contralto barks of gorgon stepmother Madame de la Haltière with gusto too.”

— Cendrillon, Neil Fisher, The Times 4*

“With the soloists comprising students from the Royal Academy of Music, the standout performance came from Rozanna Madylus as the Child. Her pleasing mezzo-soprano voice possessed the right assertiveness, and she had a commanding stage presence, applying an appropriate degree of stylisation and exaggeration to her gestures for this most dramatic of works”