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,, 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,, 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."
(, 22.November 2012)

Idomeneo in Chicago
"[...] Romanian mezzo-soprano Ruxandra Donose was equally convincing as the young prince Idamante. Her clear, often bright mezzo voice conveyed an endearing purity of soul.[...]"
(Chicago Classical Review, August 18, 2012)

"[...] The Romanian mezzo-soprano Donose, a Conlon discovery whose delightful Dorabella was one of the highlights of his Mozart "Cosi Fan Tutte" at Ravinia in 2010, made a vibrant Idamante, rock-solid in her dramatic declamation, pouring out a big, alluring sound that was alive with dusky colorations.[...]" (Chicago Trobune, August 18, 2012)

"[...] The Idamante of Romanian mezzo-soprano Ruxandra Donose was a beautifully sculpted portrait. She moved with the easy grace of an honorable young prince. Her bright, supple voice, with a hint of smoke in its lower register, clearly expressed Idamante’s most soaring hopes and his deepest fears.[...]"
(Musical America, August 21, 2012)
Farnace in Strasbourg
„Son epouse Tamiri trouve en Ruxandra Donose une interprete au timbre envoutant et mordore [...], trouvant sa pleine expression dans les longs et nombreux recitatifs qui emaillent son role et qu’elle habite avec une intensite sans pareille.“
„Seine Frau Tamiri findet in Ruxandra Donose eine Interpretin mit bezauberndem und goldbraunem Timbre [...]. Sie findet in den langen und zahlreichen Rezitativen zu ihrem vollen Ausdruck, die ihre Rolle veredeln und die sie mit einer unvergleichlichen Intensität lebt.“
(ResMusica, 22.5.2102)

„La Tamiri dechirante et digne de Ruxandra Donose, ecartelee entre un epoux et une mere qui sont ennemis mortels“
„Die herzzerreißende und würdevolle Tamiri von Ruxandra Donose ist hin- und hergerissen zwischen einem Ehemann und einer Mutter, die Todfeinde sind.“
(Le nouvel Observator, 21.5.2012)

„Ruxandra Donose stattet Tamiri entsprechend deren mildem Charadkter mit einem warmen und weichen Mezzo aus, der in ihren Arien emotional zu bewegen vermag.“
(Online Musik Magazin, 21.5.2012)

„Die Rumänin Ruxandra Donose ist die einzige von durchgehend hoher vokaler Präsenz. Als Tamiri wird sie gleich in einen Konflikt zwischen Gatten- und Mutterliebe gestürzt, der ihr in der Folge die Möglichkeit gibt, bei effektiv eingestreuten Spitzentönen alle Farben trauernder und leidender Ergriffenheit auszuspielen.“
(Badische Neueste Nachrichten, 21.5.2012)

„Ruxandra Donose ist mit ihrem vollen, geschmeidigen Mezzo eine tief empfindende Tamiri.“
(Badische Zeitung, 24.5.2012)

"“Le trio des trois mezzo-sopranos qui cimentent cette histoire menée par des femmes, est simplement éblouissant : (...) et surtout à la tendre Ruxandra Donose, voix limpide et souple à l’admirable diction, donnant vérité aux effusions d’un personnage qui passe son temps à empêcher la mort, celle de son mari, celle de son fils, et la sienne propre."
„Das Trio der drei Mezzo-Soprane, die diese Intrigengeschichte unter Frauen tragen, ist einfach hinreißend: ... und vor allem durch die zarte Ruxandra Donose, mit klarer Stimme und geschmeidig in der bewundernswerten Diktion. Sie zeigt Aufrichtigkeit in den Gefühlsausbrüchen einer Frau, die ihre Zeit damit verbringt, den Tod zu verhindern, den ihres Mannes, den ihres Sohnes und ihren eigenen.“
(, 22.5.2012)

"C’est en revanche une grande charge émotionnelle que porte la voix magnifique de Ruxandra Donose, Tamiri dont les airs – écrits pour Anna Girò, l’égérie de Vivaldi – sont à faire pleurer les pierres, notamment celui qui conclut la première partie du spectacle."
„[...] Dagegen ist es eine grosse emotionale Last, die die wunderschöne Stimme von Ruxandra Donose trägt. Tamiris Melodien – geschrieben für Anna Giro, der Muse von Vivaldi - sind zum Steinerweichen, vor allem diejenigen, die den ersten Teil der Vorstellung abschließen.“
(, 24.5.2012)
Farnace in Strasbourg
Right now Ruxandra is rehearsing for the upcoming production of Vivaldi's "Farnace" at the Opera du Rhin in Strasbourg.

Meanwhile her recording of this opera won another prestigious award: the "Preis der deutschen Schallplattenkritik"
Don Givanni at Covent Garden
Ruxandra and Erwin as handsome Giovanni and Elvira April's "Opera" magazine cover.
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