"The Romanian mezzo Ruxandra Donose is nothing short of superb as the disruptive seductress Princess Eboli, scattering sinuous charm on her playful “Veil” song and fire and brimstone when it comes to her vengeance and remorse."
Rupert Christiansen , The Telegraph, !9.06.2016

"A superb Princess Eboli from the vibrant Romanian mezzo Ruxandra Donose"
Richard Morrison, The Times, 20.06.2016

"Ruxandra Donose as Princess Eboli delivered a beautifully stylish song of the veil to the queen’s ladies-in-waiting. Eboli can so often be a dull and dumpy mezzo, but Ms Donose is every inch the beauty known to history and her portrayal of the role developed from coquettishness to scheming fury, and eventually abject sorrow as she admits to unjustly traducing the queen, sleeping with the king, and finally cursing her own beauty — one of the highlights of the evening."
Mark Ronan, 23.06.2016

“Ruxandra Dunose was a powerful Eboli, suggesting genuine bitterness and remorse at her crucial moments; ‘O don fatale’ was given quite an ovation for its emphatic delivery"
Melanie Eskenazi, musicOMH, 19.06.2016

"Ruxandra Donose had power to burn as Eboli, thoroughly convincing in the ensemble passages and her closing “O don fatale"
David Carlin, Bachtrack 19.06. 2016
Une "Grande Duchesse de tonerre" still two performances to go
"Le plateau est dominé par la forte personnalité de la mezzo roumaine Ruxandra Donose, débutant dans un rôle qui lui offre d'innombrables occasions de mettre en avant ses dons d'actrices (sorte de virago mi-alcoolique mi-nymphomane), sa parfaite prononciation du français et son tempérament irrésistible. A ces atouts, on ajoutera la qualité de s'autoparodier, très exactement dans le sens où Offenbach le souhaitait. Elle se montre autrement convaincante dans ce rôle-ci, que dans celui d'Arsace dans Semiramide de Rossini, qu'elle a tenu, voilà un mois, à l'Opéra National de Lyon. Sa formidable prestation semble d'ailleurs pousser ses partenaires à se surpasser.."

Emmanuel Andrieu, Opera-online.com

"De même que l'indéniable réussite de la mise en scène, il nous faut souligner l'éclat de la distribution. Évoquons simplement pour s'en convaincre la prestation de Ruxandra Donose qui, par la spendeur de sa voix comme par l'élégance de sa silhouette, a tout d'une grande duchesse. Dans une mise en scène si construite, où chaque geste et même certaines intonations vocales spécifiques sont pensés de manière à produire un effet comique, les principaux chanteurs parviennent à s'approprier leur rôle avec aplomb."

Caroline Dessaint, Bachtrack.com
Big success as Arsace in Rossini's Semiramide
"Arsace, a trouser role for the impressive mezzo-soprano Ruxandra Donose (...)
The most complete portrayal was Ms. Donose’s Arsace, the reluctant King.
Donose’s voice offers that rare combination of dusky warmth with agility (and no
sign of strain, either). She also appeared to enjoy stepping into the shoes of
an energetic prince. Donose was consistently impressive in her arias but I found
her most exciting singing was in duets with Semiramide and Arsace’s rival,
Adam Moscoe, Parterre.com

"Arsace est interprété de manière remarquable par la mezzo-soprano roumaine Ruxandra Donose, dont la voix souple émeut par son lyrisme, convainc par sa projection et affirme dans les notes graves une forme de virilité rendant justice au rôle. Elle recueille un succès mérité dès sa cavatine du premier acte, « Ah ! quel giorno ognor rammento », mais aussi dans ses duos avec Assur d’abord, avec Semiramide ensuite. Le second duo notamment, « Ebbene… a te : ferisci », finement ciselé, exprime une véritable osmose et constitue l’un des grands moments de la soirée. ( forumopera, Christoph Rizoud")

"Il mezzo soprano Ruxandra Donose ci aveva già impressionati nella Damnation de Faustal festival Verbier quest’estate. La finezza, l’eleganza della cantante e la sua dizione perfetta avevano catturato l’attenzione del pubblico. Al di là delle qualità che abbiamo potuto sentire in Svizzera, la cantante si è distinta a Lione da un seducente registro basso che ha dato una bella presenza al personaggio maschile che interpreta. Dalla cavatina del primo atto « Ah ! quel giorno ognor rammento », impone una facilità d’esecuzione che dà la pelle d’occa. I suoi duetti con Elena Mosuc illustrano una vera osmosi tra le due voci che trasforma questi confronti, tra amore e sospetto, in un inno di bellezza. Nell’ « Ebbene… a te : ferisci », del secondo atto, Ruxandra Donose ci regala di un momento d’emozione raro : sfumature sottili, colori calorosi, eleganza virtuosa. Gli innamorati del Bel canto sono lietissimi !"

Brigitte Marollat, 1001notte.over-blog.com
New Recording : Caldara
This October, a new opera CD will be released by Archiv/Deutsche Gramophone : La concordia die pianeti, by Atonio Caldara. Ruxandra sings the role of Jupiter, with great colleagues like Franco Fagioli, Veronica Cangeni or Delphine Galou, under Andrea Marcon conducting the baroque group "La Cetra"
New Rossini: Arsace
This November Ruxandra will make her debut as Arsace in Rossini's Semiramide, in Lyon and Paris, under the baton of maestro Evelino Pido
Wigmore Hall recital
This October Ruxandra made her Wigmore Hall recital debut, in the prestigious Rosenblat series, with Roger Vignoles at the piano.
New Solo CD
This September Ruxandra releases her new solo CD titled "Romance", a collection of French romantic arias, with the National Radio Orchestra Bucharest under the baton of Tiberiu Soare
New CD
Ruxandra's new CD of Händel's "Tamerlano" was released in May. What a great cast: Xavier Sabata as Tamerlano, Maximilian Cencic as Andronico, Karina Gauvain as Asteria, John-Mark Ainsley as Bajazet. And Ruxandra as Irene.

Amongst other prices this recording received the
Grammophon Editor's Choice Award.
Les nuits d'été at the Al Bustan Festival
“A recognised technician, [Donose] possesses undeniable qualities; her voice has a certain purity, her lines of magnificent singing, her admirable accuracy, are all entirely at the service of the music. Distilling moments of happiness, beautiful to watch and to listen to, she uses her musical intelligence and the flexibility of her phrasing to interpret this collection, emphasising the transition from romanticism to melody."

Pierre Sawaya, L’Orient Le Jour, March 2014


Carmen at English National Opera
“But in the middle of it is a fascinating re-interpretation of the standard, dark and dangerous Latin femme fatale. Blonde Romanian mezzo Ruxandra Donose […] edges the role into a different archetype: the sexy, strong but sympathetic woman who knows her own mind and shines out in the shabby world of chavs and cheats that she inhabits. What's more, she's actually loveable (a rare quality in Carmens of my experience), singing with a warm, soft, pearly mezzo that's incredibly seductive”.
(Michael White, The Telegraph, 22.November 2012)

"First among the pluses [of this production] is Romanian mezzo Ruxandra Donose in the title role. She has a caressing, velvety-smooth voice, and a way of harnessing her stage energy to a point of stillness that makes her mesmerizing. If men want her, they have to go to her.
There’s an enigmatic smile she does too, full of infuriating and secret self-confidence, which hits the button every time. It surely puts her in the front rank of Carmens.
(Warwick Thompson, Bloomberg)

“Ruxandra Donose made an excellent Carmen: vulnerable but not too vulnerable, strong, but not too strong, complex, conflicted, and at times devastatingly alluring”.
(Mark Berry, Seen and Heard International, 22.November 2012)

“Ruxandra Donose [a feisty Carmen] plays a complex woman determined to hold on to her independence at whatever”.
(George Hall, The Stage, 23.November 2012)

“Donose is a riveting Carmen dramatically and a complete success musically. Completely free from traditional Carmen antics and gypsy tics she creates a complex and totally convincing portrait of a strong, unpredictable and finally pitiable woman. [She is] such a strong protagonist.
The final scene was notable firstly for some absolutely stunning chorus work and secondly for the total commitment of the two principals. In this vision of Bizet the tragedy is as much Carmen’s as Jose’s. So often one can feel that Carmen gets what she deserves but here Donose fully engaged our sympathy and the end, as a result, was far more moving. The scene made a fitting climax to a challenging (in the right sense) and enthralling evening.
Ruxandra Donose is the real deal – an excellent singer and a captivating and many-layered actress”.
(Sebastian Petit, Opera Britannia, 23.November 2012)

“There's some fine singing [...] This is, by far, Donose's best UK performance to date”.
(Tim Ashley, The Guardian, 22.November 2012)

“As Carmen, Ruxandra Donose suits Bieito’s take very well. [This] feral, compulsively manipulative Carmen was like a heat-seeking missile, seeking whom she may destroy, then moving on. Donose’s stillness and self-possession were like an invisible shield, setting her apart from the chaos she creates and defined from the start by a low-key, almost meditative ‘Habañera’. You always want, and hardly ever get, Carmen to be a force of nature, and Donose gets pretty close, especially with the sadness underlying her fiery, so-called free spirit...”
(Peter Reed, ClassicalSource.com, 23.November 2012)

“[Ruxandra Donose’s] creamy delivery both promises and delivers seduction with menace. And yet there’s a softness which at first seems inappropriate until you realise that the Carmen everyone expects her to be is partly the cover for a deeper desire – to fall in love and settle down.
The production comes disturbingly into its own in the final scene. Donose and Diegel are terrifically good here...”
(Edward Seckerson, edwardseckerson.biz, 23.November 2012)

“The beautiful Ruxandra Donose acted her heart out in the title role [...] Both Carmen and José have lovely lyric voices, and both made the most of their gifts [...] This is a "Carmen" that reminds you how superb the familiar music is.”
Paul Levy, The Wall Street Journal, 23.November 2012

"Ruxandra Donose is superlative as Carmen. Concepción in Ravel's L'heure espagnole is one of her signature roles, which she's done at the Royal Opera House and at the Barbican. Her voice is rich, with a lustrous smoky quality, which adds depth and mystery. This is especially important in Carmen who carries the whole opera. In Barcelona, Erwin Schrott, Roberto Alagna and Marina Poplavskaya were superlative, comensating for a relatively weak Carmen. In London, most of the cast comes from the usual ENO milieu. Without Donose, the performance would have been much less satisfying.
Donose creates an intelligent Carmen who negotiates her way through difficult situations. The Habanera is her calling card, advertising her image as seductress, but sexuality is a means to an end. Perhaps Carmen wants love, but she's too realistic to expect miracles. When the smugglers bring out flamenco dresses from their loot, all three women think it's degrading. These are just cheap costumes. What they really want is to move ahead, but they haven't the means. Donose's Carmen has a natural elegance which suggests that higher aspirations may be within her reach. Her singing is sensual but never vulgar. She's blonde, but her voice creates the "dark eyes" in the text, coloured by emotional depth."
(classical-iconoclast.blogspot.co.at, 22.November 2012)

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