Rosenkavalier in München
"...Ruxandra Donose, ein Octavian mit wunderbar schlanker Höhe und feiner Mittellage..."
Süddeutsche Zeitung, 3.6.2011

"...einem so erfahrenen Oktavian wie Ruxandra Donose, die zwar nicht unbedingt als gestandenes Mannsbild daherkommt, den verliebten Burschen aber mit entwaffnendem Charme und farbenreichem Mezzo so souverän gestaltet, dass sie mühelos zum Dreh- und Angelpunkt des Geschehens wird."
Münchner Merkur, 3.6.2011
New Haydn CD
The Seven Last Words of our Saviour on the Cross

London Philharmonic Orchestra
Conductor: Vladimir Jurowski

For more details and a sound sample see HER MUSIC/RECORDINGS
New Berlioz CD
Romeo and Juliet

Symphonie dramatique

The Philadelphia Orchestra
Conductor: Charles Dutoit

For more details and a sound sample see HER MUSIC/RECORDINGS
New CD Release
Vladimir Jurowski
London Philharmonic Orchestra

JS BACH Cantata 63

For more details and a sound sample see HER MUSIC/RECORDINGS
Vivaldi's Farnace recording
The first week of July, shortly after concluding the "Orphée" production in Philadelphia, Ruxandra recorded the role of Tamiri, in Il Farnace by Vivaldi, having as her colleague in the role of Farnace the countertenor Max Emmanuel Cencic. The wonderful "Barrochisti" conducted by Diego Fasolis assured the strongly expressive orchestral support. The CD will be released by EMI/Virgin classics.
Orphée et Eurydice in Philadelphia
"Orphée is sung by Ruxandra Donose, a mezzo soprano who is handsome in
sound and looks. What can I say? She WAS Orphée, she looked the part, she moved with great eloquence and even gracefully joined the dancers. What sets Donose among the top rank of Orphées I've heard is her expressiveness and heart. She knows how to get the most out of her voice, and she can act. She has a gorgeous voice, full, rich and deep, unlike any other singer I've heard in this role live, and like very few on records, her voice encompassed all the notes, from top to bottom. As listeners who have heard recordings of the Berlioz version of Orphée know, the bravura aria that ends Act I, Amour viens, rendre, was made even more ornate for Pauline Viardot, the notes go very low (a bit deeper than the reach of Von Otter, Kozena, and Larmore on the complete recordings -- Powdles does manage those notes). Donose stood front center on the stage and sang the heck out of that fearsome aria, easily accomplishing the challenging cadenza which a young Saint-Saens, assisting Berlioz, wrote with Viardot. The applause was immediate and, unfortunately, cut into the beautiful orchestral music which closes the aria. But when Donose sang "Jai Perdu mon Eurydice" she cast such a spell that the audience sat rapt as the music played out, only bursting into applause when the music stopped. I doubt there were many dry eyes in the theater. Donose is a great Orphée and I fervently hope she gets the recognition she deserves from this milestone in her career."

James Camner on Opera-L, 17.06.2010
L'Heure Espagnole in London
"The Romanian mezzo Ruxandra Donose is the volcanic vamp, and there’s no shortage of vocal or physical lava in her performance."
The Times, 19.10.2009

"...the Royal Opera is at its best...The casts are choice, too, though with tight playing from everyone on stage, the impression is of a perfectly aligned company achievement. But mention must be made of Ruxandra Donose’s blowsy Concepcion...A wonderful evening."
The Stage, 19.10.2009

"First seen in 2007, the Royal Opera's comic double bill of Ravel and Puccini returns for its first revival, their dark-tinged humour seems more or less intact. The casts are significantly different, though: in L'Heure Espagnole, Ruxandra Donose has taken over as the far-from-immaculate Concepción, while in Gianni Schicchi the title role is now assigned to Thomas Allen.
Donose is feisty and dashingly sexy, very obviously too much of a handful for her clock-making husband Torquemada."
The Guardian, 19.10.2009

"It's always heartening when a revival not only comes up looking as fresh as a daisy but is even more compelling than when it was new.
This is exactly what's happened to Richard Jones' already exemplary stagings of L'Heure Espagnole and Gianni Schicchi for the Royal Opera.
With many of the original cast returning to reprise their roles, it's the casting of the leads in both operas which really makes the difference.
I would never have associated Ruxandra Donose with comedy, but she threw herself into the role of Concepcion and delivered a rip-roaring performance that wouldn't have been out of place in a Carry on Film.", 19.10.2009

"Most of the original cast have returned for both pieces but a notable change in the L’Heure espagnole line-up comes with the Romanian mezzo Ruxandra Donose as Conception, the feisty and frustrated female lead who attempts to juggle a string of lovers while her absent-minded husband is off winding the town clocks. Donose has an eye for comic performance, flapping and flirting with great effect, and her voice packs the necessary punch.", 19.10.2009

"L'Heure espagnole centres on Concepcion, a woman in the Desperate Housewives mould who is bored with her elderly husband and is constantly seeking sexual gratification to keep her amused.
Ruxandra Donose was a spirited, saucy Concepcion, entering into the farce with commitment and relish, while displaying a rich, focused mezzo voice."
The Opera Critic, 21.10.2009

"The enforced change actually makes the production work better because Romanian mezzo Ruxandra Donose is convincing as a sexually voracious Mediterranean vamp clearly ‘on heat’. As she despairs about how her time has been wasted, her silent running back and forth with hands raised in the air is tour de force acting as are her predatory glances out into the audience, searching for any man who might accommodate her."
Musicweb International, 21.10.2009

"Ravel’s score is a joy, well communicated here by the splendid performance, colourful and precise, of the Orchestra of the Royal Opera House, conducted by Paul Wynne Griffiths. Vocal performances were equally splendid. Ruxandra Donose replaced Christine Rice, whose pregnancy ironically precluded her from assuming the role of Concepcion. There was no sense of second best here, however. As alluring of voice as she is on stage, Donose ascribed just the right kind of airy Hispanic sultriness – the apparent paradox is surely Ravel’s – to the part of the bored housewife."
Musicweb International, 24.10.2009

"The Royal Opera's pairing of his L'heure espagnole with Puccini's Gianni Schicci makes a glittering comic double bill, first seen in Richard Jones's staging two years ago and again conducted by Antonio Pappano. L'heure has grown even wittier. Ruxandra Donose shines as Concepción, the thrustingly saucy watch-mender's wife with a hunger for big hands but not clocks.
She and Christopher Maltman as the chunky muleteer Ramiro, stole the show, sharing the limelight with the orchestra and draining Ravel's score for every ounce of humour and sensuality."
The Observer, 25.10.2009

"On its first revival there has been an attempt to retain most of the casting from first time around. The dark voiced Christine Rice, however, was this time replaced by Ruxandra Donose, equally voluptuous of voice and physique. Donose's timbre, so reminiscent of Tatiana Troyanos, has an extra smokiness that suits the kaleidoscopic, mercurial score. She was hilarious, not just for the cool detachment towards her husband but for her sexually charged fury at the essential uselessness of her men.", 25.10.2009

Carmen in Cincinnati
"For her part, Romanian born Ruxandra Donose portrayed Carmen as more than a heartless predator. Though a serial lover who craves liberty above all things, she loves Don Jose, and Donose made her warmth and affection clear, even as she faced his jealous rage and accepted her fate at the end.
Why Don Jose loves Carmen is apparent, as Donose is the most fetching, vivacious Carmen one could wish for. Not only does she have a luscious voice, but she can dance -- the gypsy band held her aloft during their wild dance in act II -- play castanets and crack a whip in time to the music (act I, "habanera"). Her every note and gesture revealed a singing actress of the first order."
Music in Cincinnati, 23.7.2009

"A voice of sultry beauty... lovely to look at, she was a tough-girl Carmen who caressed the men while stealing their wallets. She cracked a whip and could throw another girl across the room..."
Cincinnati Enquirer, 23,7,2009
La Cenerentola Deutsche Oper Berlin
"Ein einziges Entzücken...Ruxandra Donose zeichnet die ganze Partie mit ihrem leichten graziösen Mezzosopran anrührend in die Luft...die Gäste aus Glyndebourne servieren Oper als überflutenden Freudenbecher und werden dafür mit Dankbarkeits-Tumulten bedankt."
Berliner Morgenpost, 23.5.2009

"Ruxandra Donose bewältigt die selbst in Rossinis Partituren einzigartig halsbrecherischen Koloraturen nicht nur virtuos, sondern setzt auch noch durchdacht platzierte Ausdrucksakzente."
Berliner Zeitung, 22.05.09

"Ein warm strahlender Mezzosopran ohne extrovertierte Obertöne, klingende Innerlichkeit als Kontrast zu einer verblödeten, rohen Außenwelt. Ruxandra Donose verkörpert all dies wunderbar glaubhaft, und auch schwerste Koloraturarbeit treibt ihr Singen niemals an die Oberfläche."
Der Tagesspiegel, 22.05.2009

"Güte als Gebot der Stunde, nicht Rachsucht bestimmt die umfängliche Schluss-Szene, in der Angelina die Hauptrolle spielt.
Die aparte Ruxandra Donose hat sie auch stimmlich inne und widmet sich ihrem Part mit Können und Hingabe. Ihr schöner Mezzo strömt locker und ohne Ermüdung durch das mehr als dreistündige Stück. Die Klagen als malträtiertes Dienstmädchen gelingen ebenso gut wie der Auftritt als gütig-selbstbewusste Königin beim Finale. Ein liebenswertes Aschenbrödel, das auch darstellerisch überzeugt."
Der Neue Merker, 21.5.2009

"Sängerisch ist die Produktion durchweg herausragend besetzt: Ruxandra Donose in der Titelpartie beeindruckt durch ihre saubere Stimmführung und kraftvolle Präsenz, die auch nach über drei Stunden ungebrochen ist."
kulturradio rbb, 22.05.2009
Ariadne auf Naxos Deutsche Oper Berlin
"Applaus vom Publikum gab es reichlich, sogar euphorischen - die Zerbinetta der Jane Archibald, Violeta Urmana als Ariadne, Roberto Saccà als Bacchus, Ruxandra Donose als Komponist, der Dirigent Jacques Lacombe und das ganze Team wurden gefeiert."
Georg-Friedrich Kühn, Deutschlandfunk/Kultur heute, 10.2.2009

"Der Komponist ist der Held
Carsen lässt den Zweiteiler, von Hofmannsthal als Vorspiel und Hauptspiel verschränkt, ohne Pause spielen. Er verknüpft beide Teile aufs Amüsanteste, letztendlich aber auch aufs Anrührendste. Held des Stückes sind bei ihm nicht die Primadonna und ihr heldentenoraler Singkumpan, sondern der gebeutelte, erniedrigte, verzweifelte Komponist, der seine offenkundig zum Machwerk verhunzte Oper, erst einmal unter Tränen dem Dirigenten am Pult im Orchestergraben auf Gedeih und Verderb ausliefert. Dann, hingequetscht an den Bühnenrand, beäugt er die Vorstellung, belauert und kontrolliert sie, um nach ihrem Ende von allen Mitwirkenden geradezu in einem Triumphzug auf den Schultern über die nackte Bühne getragen zu werden. Ruxandra Donose, jung, rank und schlank, singt die Wunderpartie tiefer seelischer Verwundung und Auferstehung in Glanz und Glorie mit hinreißendem Stimm-Elan."
Klaus Geitel, Berliner Morgenpost 10.2.2009

"Sternstunde ist keine Übertreibung
Zunächst und bekanntlich geht es jedoch um einen jungen Komponisten, dessen tragische Oper „Ariadne auf Naxos“ im Haus des reichsten Mannes von Wien uraufgeführt wird. Für Auflockerung soll eine muntere Einlage sorgen, betitelt „Zerbinetta und ihre Liebhaber“. Über dieses Ansinnen ist der ernsthafte junge Mann empört und unglücklich. Diese Rolle ist hier in Berlin mit Ruxandra Donose besetzt, die sowohl gesanglich als auch darstellerisch überzeugt. Man glaubt ihr/ihm den geschwinden Sinneswandel durch die attraktive Zerbinetta (Jane Archibald)."
Ursula Wiegand, Der Neue Merker, 8.2.2009

"Der Italiener Roberto Saccá als Bacchus sowie Ruxandra Donose als der Komponist begeisterten die Zuhörer ebenso wie das Orchester unter Jacques Lacombe."
Südkurier, 9.2.2009

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