gaia petrone

“Ottima anche la prova di Gaia Petrone, un Arsamene gestito perfettamente per l’intera durata dell’opera sia sul piano scenico sia su quello canoro. / Excellent Gaia Petrone manages perfectly the role of Arsamene both vocally and scenically for the entire opera.”

“(..) e nel folto cast va sottolineata l’ottima prova di Gaia Petrone perfetto Arsamene innamorato e combattivo. / and we need to underline in the large cast the excellent performance of Gaia Petrone as combative and enamoured Arsamene ”

“Degli altri, citiamo Gaia Petrone, Arsamene musicalissima e di morbida sensualità / Among the others we want to cite Gaia Petrone, who was a musical and sensual Arsamene (..)”

“Bravissimi anche Gaia Petrone, che fa en travesti Arsamene (..) / Stunning Gaia Petrone too, in the en travesti role of Arsamene (..)”

“Convince l’Arsamene di Gaia Petrone, bella voce e accenti volitivi (..) / Gaia Petrone’s Arsamene convinces for her beautiful voice and her wilful notes (..) ”

“Du reste de la distribution se distingue l’Arsamene de Gaia Petrone, pourvue d’une grande personnalité scénique et d’un chant très sûr / (..) Gaia Petrone sings an Arsamene with a strong scenical personality and solid voice. ”

“Melanto e l’humana fragilità: Gaia Petrone, vivacissima e strepitosa. / Melanto and Humana fragilità: lively and sensational Gaia Petrone”

“La contrapposizione con personaggi che, diversamente dalla regina, si esprimono quasi solamente attraverso l’esuberanza del canto sortisce così effetti inediti. Penso alla sensualità di Melanto ed Eurimaco (l’ottima Gaia Petrone ... / The contrast among the characters who, unlike the queen, express themselves almost exclusively through the exuberance of singing thus has unprecedented effects. I think of the sensuality of Melanto (the excellent Gaia Petrone ...”

“Prova riuscita per Gaia Petrone (l’Humana Fragilità e l’ancella Melanto) dalla tessitura contraltile per nulla semplice: la cantante ha mostrato grande disinvoltura, soprattutto come Melanto, dove ha brillato per la naturalezza nelle agilità e negli abbellimenti / Successful test for Gaia Petrone (Humana fragilità and handmaid Melanto) with an alto tessitura that is not simple at all: the singer showed great ease, especially as Melanto, where she shone for her natural agility and embellishments”

“Gaia Petrone, già solida interprete de l’humana fragilità nel prologo, interpreta una Melanto spensierata ed aggraziata che volteggia, ora in platea ora in proscenio, dando vita, talvolta, alle schermaglie amorose con il suo Eurimaco e, talaltra, cercando di dissuadere la Regina dalla sua fermezza nel non voler accogliere nuovi amori. Anche sotto il profilo vocale, il personaggio risulta ben rifinito e musicale. / Gaia Petrone, already a solid interpreter of Humana fragilità in the prologue, interprets a carefree and graceful Melanto who whirls, now in the audience, now in the proscenium, sometimes giving life to amorous skirmishes with her Eurimaco and, at other times, trying to dissuade the Regina by her firmness in not wanting to welcome new loves. Also under the vocal profile, the character is well refined and musical.”

“La qualité de la préparation musicale du spectacle – commencée à vrai dire avant la pandémie et reprise pour une première en janvier dernier – est tout aussi visible chez les autres chanteuses de la soirée, notamment Diana Haller et Gaia Petrone, suivants respectivement d’Holopherne et de Judith. / The quality of the musical preparation of the show – actually started before the pandemic and resumed for a premiere last January – is just as visible in the other singers of the evening, in particular Diana Haller and Gaia Petrone, respectively followers of Holofernes and of Judith.”

“Ottima anche Gaia Petrone nel ruolo di Licori: la sua prima aria in pianissimo sostenuta da archi con sordini ci trasporta in un mondo agreste sospeso. La voce mezzosopranile ha un materiale immacolato di gran pregio, un colore gravido di sfumature scure.”

“Ottima la Licori sensualissima di Gaia Petrone – voce brunita e fraseggio seducente ”

“Molto apprezzabili Gaia Petrone, una Licòri resa con pregevole sensibilità, e Barbara Massaro”

“Bene hanno fatto anche Gaia Petrone, musicalissima Licori, e Sergio Foresti”

“Fa molto bene la Zaida di Gaia Petrone, molto brava nel delineare una donna ferita nei propri affetti ”

“Raffinata nell’emissione e teneramente espressiva la Zaida di Gaia Petrone”

“Gaia Petrone, éduquée aux vocalités croisées de Porpora, Vivaldi ou Rossini, domine aisément le plateau. Timbre homogène, vocalises rapides sans faiblesses, la mezzo compense par son abattage vocal le relatif effacement théâtral auquel on l’assigne. On goûtera particulièrement sa cavatine « Sospiri del mio sen » au premier acte et l’aria du second « Non mostrarmi in tale istante » / Gaia Petrone, educated in the cross-vocalities of Porpora, Vivaldi or Rossini, easily dominates the set. Homogeneous timbre, rapid vocalizations without weaknesses, the mezzo compensates by its vocal slaughter the relative theatrical effacement to which it is assigned. We will particularly appreciate his cavatina “Sospiri del mio sen” in the first act and the aria of the second “Non mostrarmi in tale istante”.”

“Gaia Petrone (Sabina) è un mezzosoprano di coloratura dalla voce chiara e tersa e di notevoli qualità nelle agilità “rossiniane”, come dimostra l’impegnativo rondò del secondo atto. Scenicamente è perfetta nella parte della ragazza moderna e spigliata. Capello corto di gran moda, atteggiamento diretto, adattato a far da fotografa nel parco a tema un po’ grottesco montato dal padre ma sicuramente destinata a una vita più brillante. / Gaia Petrone (Sabina) is a coloratura mezzo with a clear and bright voice and remarkable qualities in “Rossinian” agility, as evidenced by the demanding rondó of second act. Scenically she is perfect in the part of the modern and self-confident girl. Very fashionable short hair, direct attitude, adapted to be a photographer in somewhat grotesque theme park set up by his father but certainly destined for a brighter life.”

“ The most accomplished of the evening’s soloist was mezzo Gaia Petrone in the role of Sabina. She displayed a full, rounded, mellifluous voice in several arias. (..) La più abile della serata tra i solisti è stato il mezzosoprano Gaia Petrone nel ruolo di Sabina. Ha mostrato una voce piena, rotonda, melliflua in molte arie. ”

“ Gaia Petrone ha dato vita ad una Sabina dal timbro bellissimo (teniamola d’occhio!) e dalla capacità espressiva mai banale, giustamente timida negli interventi “tra sé e sé” e vellutatamente prorompente nel cesellare gli accenti che il personaggio le affidava. / Gaia Petrone gave life to the role of Sabina with her wonderful timbre (let’s keep an eye on her!) and with expressive ability that is never banal, rightly shy in her interventions “to herself” and velvety bursting in chiseling the accents that the role entrusted to her.”

“Sabina, la giovane protagonista femminile è il mezzosoprano Gaia Petrone da noi molto apprezzata come Isaura nella Margherita d’Anjou a Martina Franca. Una voce di velluto, duttile capace di rendere sensibile la prima cavatina costruita sul modello di quella di Tancredi con “Di tanti palpiti” ben parodiato dal compositore. / The young female protagonist Sabina is the mezzo-soprano Gaia Petrone, already very much appreciated by us as Isaura in Margherita d’Anjou in Martina Franca Festival. She has a velvet voice and capable of making sensitive the first cavatina built on the model of Tancredi’s cavatina “Di tanti palpiti” well parodied by the composer (Donizetti) .”

“(..) Gaia Petrone (mezzosoprano), è Sabina, la sposa promessa, vocalità calda, ottime le agilità e una presenza scenica che si impone con grazia e leggerezza, notevole la cavatina del primo atto: Sospiri del mio sen, modellata su Di tanti palpiti del Tancredi rossiniano, espressione degli affetti e di tenerezza / Gaia Petrone (mezzosoprano), is Sabina, the promised bride, warm voice, excellent agility and a stage presence that imposes her with grace and lightness, notable the cavatina of the first act: Sospiri del mio sen, modeled on Di tanti palpiti from Rossini’s Tancredi, expression of affection and tenderness (..)”

“La pareja protagonista se conformó por la mezzo (papel tipo del de las ‘contraltino’ de Rossini) Gaia Petrone y el tenor Giorgio Misseri. Ella parece destinada a una brillante carrera: es joven, graciosa, tiene buena voz, desparpajo y una técnica correcta / The leading couple was made up of the mezzo (the typical role of Rossini’s ‘contraltino’) Gaia Petrone and the tenor Giorgio Misseri. She seems destined for a brilliant career: she is young, funny, she has a good voice, she is self-confidence and she has a correct technique.”

“(..) ottimi protagonisti sono stati Gaia Petrone e Javier Povedano Ruiz che hanno dato vita ai due protagonisti con ironia e precisione musicale. Del mezzosoprano colpisce subito la voce calda, gestita con sapienza e leggerezza nonostante il suo peso specifico, e la sicurezza del gioco scenico. / (..) excellent protagonists were Gaia Petrone and Javier Povedano Ruiz, who gave life to the two characters with irony and musical precision. We are immediately struck by mezzosoprano’s warm voice, that she manages wisely and lightly, in spite of her specific vocal weight, and by her security in acting.”

“Sposa e sposo, lievi e lieti, tubano nel finale alleggerendo i nostri cuori con la seduzione di possibili amori semplici e scanzonati e ci incantano con le voci e la bravura degli interpreti, perfetti nel recitar cantando della mezzosoprano Gaia Petrone e del baritono José Povedano Ruiz, vera delizia della serata (..) / Happy and light bride and groom coo in the finale, lightening our hearts with the seduction of possible simple and easy-going loves, and (they) enchant us with their voices and bravura as performers, perfect in recitar cantando of mezzosoprano Gaia Petrone and baritone José Povedano Ruiz, true delight of the evening (..)”

“The minor roles all acquitted themselves well, although mezzo-soprano, Gaia Petrone, in the role of Cleone, Ermione’s servant, was particularly notable. She gave a self-possessed, confident account, in which the distinctive coloring of her lines impressed. / Tutti i ruoli minori hanno fatto bene, anche se il mezzosoprano Gaia Petrone, nel ruolo di Cleone, la serva di Ermione, è stata particolarmente notevole. Ha dato un’ottima prova di se con la sua assoluta padronanza, nella quale il colore peculiare delle sue linee di canto ha impressionato ”

“Incisiva nel canto e nell’espressione scenica Gaia Petrone ha dato risalto a Cleone con un timbro luminoso e ricco di armonici. / With her vivid singing and scenic expression, Gaia Petrone stood out as Cleone with her bright timbre rich in harmonics.”

“Completavano il cast, Filippo Adami per Pilade, Guido Loconsolo per Fenicio, la brava Gaia Petrone per Cleone (..)”

“Mientras que la mezzo Gaia Petrone, que intrpereta a Eduige, mostró el desplante de una mujer empoderada, con una virtud actoral excelente y una expresividad exquisita en su voz. / While mezzosoprano Gaia Petrone, who plays Eduige role, showed the arrogance of a woman who got her power back with an excellent acting and a delicious expressivity in her voice. ”

“Gaia Petrone (Eduige) lucía una atractiva y cálida tesitura grave y gracia actoral; / Gaia Petrone (Eduige) revealed an attractive and warm low register and elegance in acting.”

“La mezzo Gaia Petrone, de timbre specialmente grato en el registro medio, es una Eduige con carácter / Mezzosoprano Gaia Petrone, with a timbre particularly rich in middle range, is an Eduige with strong temper. ”

“La mezzo italiana Gaia Petrone es una muy sólida Eduige, germana de Bertarido y reina de Pavia, de estampa casi masculina en esta puesta, y mucha fuerza escénica. / Italiani mezzosoprano Gaia Petrone is a very solid Eduige, Bertarido’s sister and Queen of Pavia, kind of masculine in this production, and with a strong scenic presence.”

“Si perde purtroppo la strepitosa Ramise di Ruxandra Donose, ma è un dolore relativo perché Gaia Petrone non la fa troppo rimpiangere. Bella voce scura, fonda, ricca di armonici, ottime qualità di canto e formidabile presenza scenica. Ottima prestazione e nome da ricordare per questo repertorio. / Unfortunately we lost great Ruxandra Donose’s Ramise, but this is a limited pain because Gaia Petrone’s one doesn’t let her regret. (Gaia Petrone) has a beautiful and dark voice, deep and rich in harmonics, she has excellent quality in singing and a formidable scenic presence. Sensational performance, and a name to remember for this repertory.”

“(..) la vocalità tesa ed arcaica di Iris - Gaia Petrone, che deve annunciare le decisioni dell’Olimpo su Proserpina / (..)nervous and archaic timbre of Iris - Gaia Petrone, who has to announce the decisions of Olympus about Proserpine ”

“The mezzosoprano Gaia Petrone gave a good account of herself in the role of Iris, the messenger of the gods. Her voice has a pleasing timbre, with a warm palette of colours, her singing was clear and nuanced. ”

“Tinte eteree e sacrali per Iris (Gaia Petrone), messaggera di Giove / Heavenly and sacral colour for Iris (Gaia Petrone), Jove’s messenger ”

“Ottima anche la Rosina di Gaia Petrone, mezzosoprano scuro che ha caratterizzato in senso quasi virile il personaggio, sfrondandolo dagli inopportuni vezzi di tante interpretazioni del passato. Punto di forza di questa giovane cantante sono le colorature, sempre ben sgranate e stilisticamente adeguate, così come il colore della tessitura centrale, intenso e vibrante / Rosina sung by Gaia Petrone is also excellent, a dark mezzo-soprano that has typified the character in an almost masculine sense, pruning it from the inappropriate mannerisms of many interpretations of the past. The strength of this young singer is her coloratura, always well grainy and stylistically adequate, as well as the color of the central tessitura, intense and vibrant”

“A natural woodland grew around the orchestra, and Humperdinck’s Operetta for children was the best selection to enchant an audience of all ages, with choreography and singing perfectly balanced. Italian mezzo-soprano Gaia Petrone had the warmth of a contralto timbre, yet the boyishness of Hänsel. (..) Inappropriately backed by the ubiquitous Austrian lake scenery, Ms Petrone’s ‘Habanera’ more than compensated albeit in challenging French, she made a convincingly seductive Carmen. (..)The formidable Gaia Petrone played another trouser role singing, ‘Chacun à son gout’ beautifully at front stage and skated by a matching Mabee.”

“Le rôle d’Hérodiade (la mère) est interprété par Gaïa Petrone. Toujours présente sur scène, elle interprète de sa voix chaude de mezzo-soprano au beau vibrato et aux aigus flamboyants, une femme rageuse et déterminée /The role of Herodiade (the mother) is interpreted by Gaia Petrone. Always present on stage, she interprets in her warm voice of mezzosoprano with beautiful vibrato and flamboyant highs, an angry and determined woman”

“à commencer par ceux d’Hérodiade (excellente Gaïa Petrone). Sous la plume de l’Abbé Ansaldi, la mère de Salomé ne s’exprime que fugacement et intervient pour l’essentiel dans les ensembles, or l’action procède de ses manigances et de l’ascendant qu’elle exerce sur sa progéniture. Tapie dans l’ombre ou se dressant fièrement face à Hérode, un sourire triomphal aux lèvres, narguant Baptiste dans sa geôle ou reprenant vivement le sceptre royal des mains du Conseiller en le toisant furieusement, la compagne du tétrarque de Galilée et de Pérée est omniprésente et veille jalousement sur ses intérêts. /starting with those of Herodias (excellent Gaia Petrone). Under the pen of Abbot Ansaldi, Salome’s mother expresses herself only fleetingly and intervenes for the most part in the ensemble pieces, but the action proceeds from her shenanigans and the ascendancy she exercises over her offspring. Hidden in the shadows or standing proudly in front of Herod, a triumphal smile on her lips, taunting Baptiste in his jail or resuming the royal scepter from the hands of the Councilor by looking him furiously, the companion of the tetrarch of Galilee and Palestine is omnipresent and jealously watches over her interests.”

“La réplique lui sera donnée pendant près de deux heures (..) par Gaia Petrone, en émouvante et vénéneuse Hérodiade. / The reply will be given for nearly two hours by Gaia Petrone, moving and poisonous Herodias.”

“Gaïa Petrone apporte une présence fascinante et un chant habité à cette figure de mère excessive, (..) / Gaia Petrone brings a fascinating presence and an accustomed singing to this figure of excessive mother, (..)”

“Avec Gaia Petrone, le plaisir d’entendre un vrai timbre de mezzo nous est offert, et le rôle de Ramise en paraît vraiment trop peu étoffé. Pour tout le reste, nous ne pouvons que réitérer les compliments déjà accumulés par nos collègues. / With Gaia Petrone the pleasure to listen to a real mezzo timbre is offered to us, and the role of Ramise seems really too less for her. Concernant all the rest, we can only reiterate the compliments already accumulated by our colleagues.”

“Présente au début et à la fin de l’œuvre, Gaia Petrone séduit par la densité de son timbre de mezzo. / Present at the beginnnig and at the end of the opera, Gaia Petrone seduces for the density of her mezzo timbre.”

“The stand-out vocal contribution of the evening, though, came from the Aurora of mezzo Gaia Petrone. Like the contralto Sonia Prina, who has impressed hugely in the past, Petrone has the ability to make us forget the intervening years between the composition and the now; emotions are as real and present as they would be in a person today (..) / Il contributo vocale di spicco della serata è tuttavia venuto dall’Aurora del mezzosoprano Gaia Petrone. Come il contralto Sonia Prina, che ha impressionato enormemente in passato, Petrone ha l’abilità di farci dimenticare gli anni che sono intercorsi tra il tempo della composizione e l’oggi; le emozioni sono reali e presenti come lo sarebbero in una persona di oggi. ”

“Souffrante, Cecilia Molinari a dû laisser la place (en dernière minute) à Gaia Petrone, la première jouant sa partie sur scène pendant que l’autre délivrait la partie vocale depuis le bas-côté du plateau. Découverte au dernier festival de Martina Franca, la mezzo italienne renouvelle ici notre enthousiasme estival, et conquiert l’auditoire dès son premier air, «Una volta c’era un rè», avec son timbre bronzé et délicatement flexible dans l’aigu. / Suffering, Cecilia Molinari had to leave the place (last minute) to Gaia Petrone, the first playing her part on stage while the other sang the vocal part from the side of the stage. Discovered at the last festival of Martina Franca, the Italian mezzo renews our summer enthusiasm, and conquers the audience from her first aria, “Una volta c’era un re,” with her burnished and delicately flexible in high notes timbre.”

“(..) l’intensa Gaia Petrone costruisce il canto di un Megacle straordinario; / intense Gaia Petrone builds up the singing of an extraordinary Megacle ”

“(..) la migliore Gaia Petrone con Emanuele D’Errico per Megacle (notevole senz’altro la sua celebre aria “Se cerca, se dice” ) / The best is Gaia Petrone with emanuele D’Errico who play the role of Megacle (remarkable with no doubts her famous aria “Se cerca, se dice (..)”

“Gaia Petrone (contralto) è Megacle, ottimi timbro e colore / Gaia Petrone (contralto) is Megacle, with excellent timbre and colour of voice (..)”

“Risalto plastico ha avuto il Caino del mezzosoprano Gaia Petrone la cui voce, dal timbro seducente, ha dato toccante veridicità ai sentimenti contrastanti del fratricida. / Mezzosoprano Gaia Petrone’s Caino stood out, whose charming timbre gave touching veracity to fratricide’s contrasting feelings ”

“Bravissima invece il mezzosoprano Gaia Petrone: si potrà forse obiettare che il suo ricorso al canto di portamento, unito a un’emissione non indenne da un certo vibrato (più congeniale ad altri repertori), erano parzialmente fuori stile. Resta il fatto che ogni singola parola diventava perfettamente intellegibile e il personaggio di Caino assumeva, con lei, un potente rilievo drammatico: a spingerlo al fratricidio sono l’invidia e il fastidio verso un fratello troppo perfetto. / Mezzosoprano Gaia Petrone was outstanding: it can be said, maybe, that her recourse to canto di portamento and her use of vibrato (more congeniali to other repertoires) were partialy out of style. But the fact is that every single word became perfectly intelligibile and the character of Caino assumed, thanks to her, a strong dramatic importance: envy and annoyance for a too perfect brother push her/him to fratricide. ”

“Mezzo Gaia Petrone as Isaura was arguably the best on stage: she could sing touchingly and highlight the naive side of the character, and was impressive in the final rondò ‘Oh ciel, qual mai contrasto’ followed by her final aria.”

“Sempre più sorprendente si ritrova a sua volta Gaia Petrone, impeccabile nell’articolare le diaboliche figurazioni minute del rondò finale, ma ancor più adorabile nel palpitante progresso psicologico del personaggio di Isaura e ammirevole per la conseguita continuità di registri dallo squillo di testa all’affondo di petto: ciò che si auspicava quando, perfezionanda alla Kammeroper di Vienna, già si riconoscevano in lei l’eccellenza dei mezzi e l’intelligenza dell’artista / Even more surprising Gaia Petrone, impeccable to articulate the diabolic and tiny figurations of her final Rondó, but even more adorable in the quivering psychological progress of Isaura’s character, and admirable for homogeneity of her registri, from her squillo di testa to her affondo di petto: this is what we hoped for her when she was at Wiener Kammeroper, and we yet could recognize her excellent means and artistic intelligence. ”

“Nelle difficili parti vocali, Luisi può avvalersi di artisti ben consapevoli sul piano stilistico: una menzione particolare al contralto Gaia Petrone, per la composta eleganza del suo canto (..) / In the hard leading roles, Luisi can take advantage of stylistically very conscious artists: honorable mention to contralto Gaia Petrone, for her dignified elegance in her singing ”

“Ma almeno due cantanti si fanno notare eccome: si tratta del basso Marco Filippo Romano e del contralto (contralto vero, non mezzosoprano) Gaia Petrone / At least two singers get noticed and how: bass Marco Filippo Romano and contralto (a real contralto, and not a mezzosoprano) Gaia Petrone”

“Gaia Petrone’s warmth of tone and the seeming effortlessness of her leaps across the octaves are ideal qualities for the part of Isaura. There is a naturalness to her acting which fills in gaps in the text and the music, lending depth to her exchanges with other characters”

“Gaia Petrone’s dramatic mezzo-soprano stood out as Isaura for her rich, velvety voice.”

“(..) il mezzosoprano Gaia Petrone, bella voce morbida e interprete sensibile / mezzosoprano Gaia Petrone, beautiful and soft voice and sensitive performer”

“La parte più complessa del melodramma è infatti toccata alla bravissima Gaia Petrone, mezzosoprano di volume non grande ma estremamente raffinata, a suo agio nelle agilità, affrontate con coerenza stilistica e invidiabile precisione, morbidissima nell’emissione e perfetta nella dizione. / The hardest role was up to impeccable Gaia Petrone, mezzosoprano without a big volume but extremely refined, who was at her ease with agility, that she deals with stylistic coherence and enviable precision, with a very smooth emission and a perfect diction. ”

“Gaia Petrone, as Isaura, gave a compelling performance as the naïve abandoned wife of Lavarenne, (..) Her acting and singing were of a consistently high quality throughout the evening. She brought laughter to comic scenes, such as in Act 1 when she is persuaded by Michele to dress as a male model and join the catwalk, and was at a complete loss on how to behave, her random movements at odds with the slick, stylized posing of the other models. She engendered sympathy when she was asked, by Lavarenne, to deliver a letter to Margherita, her rival. Yet, it was her singing that really impressed; her aria in the second act, “Mio pianto rasciuga,” in which she hopes, against hope, that her husband will return to her was sung with intense longing. Her phrasing was delicate and dripping with sadness, the lines beautifully decorated, the dynamics controlled. Obviously, even the emotionally retarded Lavarenne was unable to resist”

“Mit samtiger, geläufiger Gurgel singt die junge, aus Macerata stammende Mezzosopranistin Gaia Petrone die Hosenrolle der Isaura. / The young mezzosoprano Gaia Petrone, native of Macerata, sings the en travesti role of Isaura, with a velvety timbre”

“Isaura di Gaia Petrone è stata forse l’altra sorpresa di questa produzione: bel timbro scuro e incisività nel fraseggio. / Gaia Petrone’s Isaura was the other surprise of this production: beautiful dark timbre and incisiveness in phrasing”

“Das war ein außerordentlich gutes Sänger Ensemble, dem jedoch die Mezzosopranistin Gaia Petrone als heimliche Königin Isaura vorstand / It was a great cast, but Gaia Petrone stood out in the role of the secret queen.”

“E meglio di tutti – è anche Meyerbeer a privilegiarla – fa il mezzosoprano: Gaia Petrone è perfetta (il suo aspetto minuto e brevilineo qui l’avvantaggia) nel suo ruolo di finto paggetto, dietro il quale si nasconde una sposa innamorata determinatissima a riconquistare il marito, d’altronde solo platonicamente fedifrago. La compostezza della linea canora, abbinata però a un fraseggio plastico e mobile, ne fa un elemento di sicuro interesse: sarebbe bello riascoltarla in qualche grande ruolo del nostro Ottocento preverdiano. / Mezzosoprano Gaia Petrone is perfect among all (her tiny and little appearance favours her..) in her role of false page, behind which is hidden an enamoured bride, resoluted to reconquer her husband, who is after all just platonically unfaithful. The nobility of her singing line, combined with a flexible and agile phrasing, makes her an element very interesting: we would like to listen to her singing a big role of our 19th century before Verdi. ”

“Piace il mezzosoprano Gaia Petrone, precisa e di bel timbro, che delinea una Ninfa fresca e una Proserpina dolente / We liked the precise and provided with beautiful mezzosoprano timbre Gaia Petrone, whom outlines a fresh Ninfa and a painful Proserpina”

“(..) e Gaia Petrone come Proserpina/Ninfa entrambe dotate di gusto nel porgere la parola e nel canto di conversazione / (..) and Gaia Petrone as Proserpina/Ninfa, both of them provided with taste in their way of speaking and singing”

“Opposed to this heroic main couple there is the relationship of Ramise (and Sigismondo), who is vigorously portrayed here by Gaia Petrone as a grotesque drunkard with a real nimble alto voice (..)”

“Gaia Petrone dava vita a una Ramise esuberante e dai tratti simpaticamente stravaganti \ Gaia Petrone embodies an exuberant Ramise, full of nicely bizarre features.”

“L’Arminio inizia con un duetto, ce ne saranno altri due assieme a 26 arie solistiche tutte molto ben caratterizzate, soprattutto quelle di Arminio, Tusnelda e Ramise a cui corrispondono gli interpreti più interessanti di questa edizione: Max Emanuel Cenčić, Lauren Snouffer e Gaia Petrone rispettivamente. Quest’ultima soprattutto, unica italiana della compagnia, dimostra qualità vocali e sceniche sorprendenti, oltre che una dizione perfetta. La sua Ramise è poi ricca di tratti ben assecondati dalla regia di Cenčić \ Arminio begins with a duet, there will be two more ones along with 26 arias all very well characterized, especially those of Arminio, and Tusnelda Ramise which correspond to the most interesting interpreters of this edition: Max Emanuel Cenčić, Lauren Snouffer and Gaia Petrone respectively. This last one especially, the only Italian singer in the company, demonstrates amazing vocal and scenic qualities, as well as a perfect diction. Her Ramise is then full of features well supported by Cencic’s direction (..)”

“This ignoble father (...) has a young son sighing for Ramise, the sister of Arminio, a character made buffo by the staging and that the mezzo-soprano Gaia Petrone sings deftly.”

“(..) blessed with a warm alto voice with a wide colour, Gaia Petrone created the expressive character of Ramise, beloved by Sigismondo (..)”

“From her side Gaia Petrone sings an Abra with strong personality. The Italian mezzosoprano, with her almost rebellious look, reveals a perfect technique while physically living her role: in her aria “Non ita reducem” she follows the vigorous rhythm of the orchestra shaking her head, stirring her shoulders, ready to dance. ”

“With a close sound, but more sonorous at the bottom of her range, Gaia Petrone is an Abra full of punch, which does not resist the pulsation of her air “Non ita reducem” : we cannot resist neither! ”

“Gaia Petrone spreads out in Abra a wide mezzosoprano voice, flexible and with beautiful and bright high notes. She interprets her role with conviction, insisting on Abra’s complicity with Juditha”

“Italian Gaia Petrone in the title role with verve, both vocally as scenic. She has a nice ironic distance and still succeed in doing the role believable. Then we’ll have to buy her sweeping the floor wearing high heels and slim black case. All such oddities are forgotten when she magnificently tears off her final aria.”

“Una menzione speciale va a Gaia Petrone per il bel timbro, la dizione chiara e un canto preciso e fluido con cui ha dato rilievo alla fedele giovane. \ A special mention to Gaia Petrone for her beautiful timbre, clear diction and precise and fluid singing, which gave prominence to the faithful girl ”

“Gaia Petrone, as Desdemona’s maid and confidante Emilia, depicted a fine character, clearly contrasting and blending wonderfully well with Machaidze’s voice. \ Gaia Petrone, confidente e domestica di Desdemona, ha tratteggiato un personaggio raffinato, contrastando chiaramente e mescolandosi magnificamente bene alla voce della Machaidze.”

“(..) trionfa la voce potente e raffinata di un’impeccabile Gaia Petrone (Emilia), talentuosa rivelazione che incanta il teatro con una presenza scenica intensa, affascinante e armonica, anticipando nel colore appassionante della sua voce (e del costume) quel rosso del sangue e del tormento, simbolo di un’opera archetipica della letteratura mondiale. \ Powerful and refined voice of flawless Gaia Petrone (Emilia) triumphs, a talented revelation that enchants the theatre with a strong, fascinating and harmonious stage presence, anticipating in her timbre’s passionate colour (and with her red dress) that same red of blood and torment, archetypal symbol of a worldwide masterpiece”

“ Bene l’austero Elmiro di Mirco Palazzi (..) analogamente all’Emilia di Gaia Petrone, dal canto fluido e cristallino, attenta a calibrare il bel volume al timbro drammatico da cui si sviluppa un fraseggio moderato e perfettamente studiato sulla parte \ Gaia Petrone as Emilia is fine, with her fluid and clear singing, she’s careful to calibrate her considerable volume to the dramatic tone, from which she develops a measured fraseggio, also perfectly studied on the role ”

“Precisa nel canto e disinvolta nel gesto è Gaia Petrone (Emilia). \ Gaia Petrone (Emilia) is precise in singing and confident in acting”

“Gaia Petrone, is here less a follower than a companion of Hero, and she has her own sentimental and / or sexual life. She participates in the nocturnal duet with a beautiful musicality and her dark timbre makes you want to listen to it in a more exposed role”

“(...) the gorgeously sung Ursule of Italian mezzo Gaia Petrone.”

“The Italian mezzo-soprano Gaia Petrone imposes a crepuscular timbre that fits perfectly in these two summits of the work that are the duet and the trio with Hero and Beatrice.”

“Blessed as well the Italian mezzosoprano Gaia Petrone, whose eclecticism and vocal technique are inexhaustible. The naturally gilded voice is virtuous and sensitive, and as expression as musicality are innate ”

“The nocturne duo between her and her confidante Ursula (superb Gaia Petrone!) (..)”

“Her nocturne duo with Gaia Petrone’s Ursula, mezzosoprano with a warm timbre, and then the trio with Béatrice, are moments of grace”

“Rossini grants Desdemona’s younger sister, Emilia, a substantial character and some fine music, well-taken here by the multi-faceted Gaia Petrone.”

“(..) there, Gaia Petrone as Emilia, with her fine mezzosoprano voice, is much more attentive”

“Emilia (not a confidant according to Michieletto’s view but Desdemona’s sister) is an unscrupulous social climber behind the facade of daddy’s little girl) gets a sharp outline by Gaia Petrone ”

“Gaia Petrone (indisposta e doppiata vocalmente da Alix Le Saux nella recita alla quale ho assistito) una Emilia di particolare intelligenza scenica \ Gaia Petrone (indisposed and vocal dubbed by Alex Le Saux in the performance I saw) was an Emilia of unusual stage intelligence ”

“Gaia Petrone’s Cenerentola is gripping and after a slightly cautious start blossoms in her duet with Don Ramiro. Her silky smooth mezzo is wonderful to listen to, especially when she pleads with Don Magnifico to be allowed to go to the ball. Her coloratura is wonderfully musical, flowing like a chuckling stream and never seeming artificial. Ms Petrone also convincingly brings out Cenerentola’s remarkable goodness despite the years of humiliation she has suffered, especially in her wonderful final aria.”

“The Italian mezzosoprano Gaia Petrone, in the title role, has a good dose of self-ironic distance. Her Cinderella grows during the game from the bullied maid to nobly forgiving princess, and vocally she impresses in many fast coloraturas. Gaia Petrone’s final rondo is a virtuoso coloratura piece that rightly arouses the audience’s cheers.”

“Cinderella is portrayed by the well-young spirit of mezzosoprano Gaia Petrone. She finds herself well both as Cinderella at the scrub bucket and in the role of princess. She did her best bet in her final aria where an emotional depth clearly heard.”

“Messiah review: scripture and showbiz - Philharmonic Hall, Liverpool. A scaled-down RLPO provided restrained backing for mezzo-soprano Gaia Petrone and her Vegas accessorising in a sensual stab at Handel’s oratorio.
Handel’s twin influences of scripture and showbusiness seemed to be embodied in the elfin figure of the young Italian mezzo-soprano Gaia Petrone, who accessorised the unsullied tone of a boy chorister with an outsize belt buckle that Elvis might have rejected as too outrageous for Vegas. If receiving her UK introduction under the baton of Stutzmann – herself one of the most accomplished Handel contraltos of the age – was an intimidating experience, she did well to disguise it.”

“Our heart leans towards the mezzo Gaia Petrone interpreting a touching, if not moving, Hyppolite”

“Accurate and stunning Ippolita: what the young Italian mezzo Gaia Petrone does with the humiliate, betrayed character reveals.. a vocal miracle. Her incarnation enlightens all the second part of the show (end of II act, the whole III act: so much the worse for our neighbours, who left the theatre at the intermission).. ”

“Only Gaia Petrone, splendid mezzo, sizes for the first time the exigent role of Ippolita (and Pallade). With a rich and deep timbre, a powerful emission that can pass lightly and nimbly, she is a lover alternately anxious, patheticc, desperate, aggressive and, finally, reconciled. ”

“The only one having her debut was Gaia Petrone, who performs a sensible, passionate, pathetic Ippolita, with her wonderful and dark mezzo voice and a rare expressive strength.”

“(..) short-term debut in the role (of Amastre) but terribly promising for the young mezzo Gaia Petrone, born for Mozart’s trouser roles.”

“This season you can equally discover other voices, especially in Handel’s Serse: the mezzosoprano Gaia Petrone have replaced Delphine Galou.”

“(..) Gaia Petrone created a lovely cameo out of the rather thankless Annina”

“Gaia Petrone was a so intense, tender Annina”

“In the discreet timeless costumes of Nina Hörner, the outlaw Sesto in punk dress was angry: poor Gaia Petrone, who already laid many performances as a beautiful character here and now in the trouser role of the anti-hero, proved courage to turn to ugliness and (both acting and vocally sure) to betrayal.”

“Gaia Petrone transports the embers of Sesto with her soft, touching mezzosoprano voice.”

“They were all overwhelmed by the impassioned, vocal-perfect Gaia Petrone as a glorious Sesto. She will soon be seen on a larger stage”

“As Rosina, Gaia Petrone proved a real discovery. The Italian mezzosoprano’s dusky timbre encompasses extremes of vocal range from deep low tones to an upper register that extends into soprano territory.
Petrone’s version of “Una voce poco fa” was highly ornamented, the trills accurate and fearless.  Her duet with Pogossov was  bouncy and delicate,  delivered with idiomatic flair. Petrone’s Rosina was a woman of real wiles, as much a schemer as her ward Dr. Bartolo. Her faux, tearful melodramatics when she learns the Count is not the student Lindoro had the cast and audience in stitches alike and, in the numerous ensembles, Petrone’s large instrument blended mellifluously with her colleagues. ”

“As Rosina, the Italian mezzo Gaia Petrone was remarkable, portraying a tough-minded young woman who is nevertheless in the grip of infatuation, which makes for a nuanced performance that made her less a naïve damsel in distress and more of a very desirable but perfectly logical choice of romantic partner. Her singing that was especially notable: trained in early music and a veteran of Baroque opera, she has a darkly colored, muscular voice with which she is able to traverse the considerable coloratura demands of this role with seeming ease.
In few other productions of the Barber I’ve seen over the past 20 years or so have there been Rosinas with whom I didn’t sympathize for the obvious effort they were making. But Petrone sounds natural and precise in this music, tossing off the 32nd-note fripperies with fluidity and style. She made it sound easy and normal; her Una voce poco fa was rhythmically exact, and in her Contro un cor, there was a sweetness that made the aria doubly attractive”

“Protagonista è Gaia Petrone, la cui Angelina è patetica e affettuosa nel timbro di rotonda femminilità, e la cui statura di primadonna in fieri è comprovata dall’agiato registro di mezzosoprano, dall’affondo in turgori androgini, dal balenare a brillanti note acute, dallo sciorinare la coloratura minuta, dal volare da un capo all’altro della tessitura senza temere le più frastagliate cadenze \ Gaia Petrone is the protagonist, whose Angelina is pathetic and affectionate in round femininity timbre, and whose stature of prima donna in fieri has proven by her easy mezzosoprano register, by break in androgynous swellings, by flashing to brilliant high notes, by showing tiny coloratura off, by flying from one end to the other of the tessitura without fearing the most jagged cadences”

“Both in this house and in the larger scale Theater an der Wien productions, Gaia Petrone has left a strong impression through her stage presence and intense acting, as well as through her luscious, well-produced mezzo. As anticipated, Angelina is an ideal choice for the young Italian, lying comfortably in dynamics and range, and with Petrone demonstrating bel canto agility and finesse to compete with so-called leading specialists in the field - in addition to a generous measure of charm.”

“The light of the performance is Gaia Petrone as Angelina, who deal with the coloratura passage with ability and shows a mezzo-soprano voice also very deep in the low register.”

“The vocal light of the evening is Gaia Petrone. She sings an almost perfect Angelina, with nimble coloratura and beautifully led, slim mezzosoprano voice.”

“(..) Gaia Petrone had an exemplary stage presence (..)”

“Gaia Petrone, nella parte del traditore Sibari, è poi un caso raro di voce mediosopranile, smaltata e timbrata alla perfezione, capace di scendere con naturalezza a una tessitura di vero contralto: mezzi vocali degni dei migliori impieghi su scala internazionale. \ Gaia Petrone, in the role of the traitor Sibari, is a rare case of “mediosopranile” voice, perfectly enamelled and resonant, being able to go down naturally to a real alto tessitura: vocal abilities worthy of the best employments on a worldwide scale. ”

“(..) every coloratura, even the most extreme, is shown by Primadonna Çigdem Soyarslan, only surpassed by the equally clear and agile mezzosoprano Gaia Petrone.”

“Gaia Petrone was bluffingly convincing in the trousers role of the villainous Sibari - ample-toned, fearless in approach, and whetting one’s appetite for her forthcoming Sesto and Angelina (Cenerentola) in Vienna.”

“Among all Gaia Petrone, who gave her deep-rooted alto voice in a natural way to the much sought- after Medoro, showed how the young generation of singers can interpret authentically the 18th century music”

“Gaia Petrone knows how to use her mezzosoprano timbre, to outline the character of Medoro in a more than appropriate stylistic way ”

“Gaia Petrone, a mezzo, sang the Medoro. Her voice has a round, rich, velvety sound.”

“Gaia Petrone, a natural comedienne as Clarina, impressed with a warm, velvety mezzo.”

“Gaia Petrone shone.
After her performance at the opening concert in mid-October, mezzosoprano Gaia Petrone once again demonstrated the great potential of her voice in the minor role of the servant Clarina (..)”

“Gaia Petrone (who caught my attention in the recent Theater an der Wien Il trittico with her imposing stage presence and cultivated mezzo) here demonstrated an appropriate sense of style, vocal culture, and an evident ability to make a cameo out of Mills’ housekeeper, Clarina.”

“The mezzosoprano Gaia Petrone revealed, in the brilliantly played Mirteo’s aria from Saverio Mercadante’s “Nitocri”, a huge stage talent ”

“La Petrone è un mezzosoprano che ammalia per il timbro bellissimo. \ Petrone is a mezzosoprano who charms for her beautiful timbre”

“Molto bella, è la voce d’Alinda (Gaia Petrone): musicale e fresca. \ Gaia Petrone as Alinda has a beautiful voice, musical and fresh 
”

“Gaia Petrone ha brillato in virtù di una interessante voce di mezzosoprano, capace di alternare grave profondo, da contralto, a sonorità sopranili e di sfruttare l’iperbolico chiaroscuro per definire la personalità di Alinda. \ Gaia Petrone emerged for her interesting mezzosoprano voice, able to alternate between contralto deep sound and soprano resonance, and to use hyperbolic chiaroscuro, in order to define Alinda’s personality”

“Segnaleremo infine Gaia Petrone, buffa e sfrontata Alinda, magnifico esempio di contralto dalla doppia voce, capace di gravi memorabili e di un registro acuto sopranile, dalla cui alternanza cava effetti sorprendenti. \ Finally we point out Gaia Petrone, funny and shameless Alinda, a magnificent example of contralto gifted with double voice, capable of memorable deep sounds and a soprano upper range, from which alternation she obtains amazing effectcs”

“Gaia Petrone offers an interesting mezzosoprano voice, with deep contralto sounds and easy high notes”