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Composer: DONIZETTI Gaetano
Soloist(s): Annick Massis, Bruce Ford, Jennifer Larmore, Pietro Spagnoli, Alfonso Antoniozzi
Conductor(s): Antonello Allemandi
Orchestra(s): London Philharmonic Orchestra
Number: ORC28
Choir(s): Geoffrey Mitchell Choir
Buy this cd at opera-rara.com

langBel Canto filberts, you’ve just died and gone to heaven. Opera Rara has exhumed some interesting operas for compact disc, but nothing as surprising or as superbly performed and produced as these two rare Donizetti one-acters – Donizetti’s Elvida and Francesca di Foix – an Oriental tragedy and a socio-political farce.
Both works get strong, idiomatic conducting from Antonello Allemandi, leading the London Philharmonic. The quartet of singers (the same on both discs) is simply fabulous. Annick Massis, a fluid coloratura soprano and stunning looker who has managed to avoid San Francisco, sings the title part in both operas.
The Tribune (San Francisco)
20 May 2005
Stephanie von Buchau
langReferring to Francesca de Foix: This recording is notable for bringing forward an outstanding young coloratura soprano, Annick Massis, who takes the title role; she is wonderfully bright and agile.
The Guardian newspaper
11 February 2005
Edward Greenfield
langReferring to Francesca de Foix: As Francessca, Annick Massis is luscious, her tone always glorious and used here good-humoredly, while she tosses off perfect trills and coloratura. Opera Rara’s presentation is again something that other labels out to imitate.
August 2005
Robert Levine
langReferring to Francesca de Foix: Annick Massis is all quicksilver in the title role, the coloratura flowing naturally.
July 2005
Joel Kasow
langReferring to Francesca de Foix: Annick Massis matches him (Bruce Ford) for variety of tone and expression and encompasses the florid demands of the role with security and eas. She uses a lighter tone than as Elvida, varying it between her uncertainty at the enticement and flirtatiousness as she teases her husband as they depart for the tournament.
March 2005
Robert J. Farr
langReferring to Francesca de Foix: Massis has a charming high soprano and turns in an exuberant performance.
Opera magazine
May 2005
Richard Law
langReviewing both Francesca di Foix and Elvida: The limpid purity of Annick Massis’s voice, it’s true, is better suited to the lighter manner of Francesca than to the heroic, death-defying Elvida, but she deals remarkably well with the technical difficulties of both.
Gramophone magazine
June 2005
John Steane
langMassis sings with enormous charm, cushioning her tones in the delightful manner of Joan Sutherland, yet capable with her smaller voice of delivering high C climaxes over full chorus and orchestra. Above all, it is Massis’s fantastic timing that sets her atop the pack of today’s bel canto artists.
Opera News
July 2005
Drew Minter
lang ''Reste Annick Massis dans les deux rôle titres.Le timbre n'a rien perdu de ses qualités; il a même gagné un corps et une présence qu'il ne possédait pas il y a une dizaine d'années.L'interprête, même si elle demeure toujours un peu trop timide et lisse, a également gagné en assurance et en brio, comme en témoigne son incarnation de Francesca di Foix.
Mais c'est surtout sa maîtrise technique qui suscite ici l'admiration, en particulier dans Elvida.
Poussée dans ces derniers retranchements par une écriture vocale dépassant ses possibilités actuelles, la soprano française sort enfin de ses gong, enchaînant trilles, ornements et suraigus décoiffants...''
Opéra International
Richard Martet
langAnnick Massis, who takes the title role; she is wonderfully bright and agile...
Edward Greenfield
Friday February 11, 2005
The Guardian
langAnnick Massis is a feisty Francesca, with bright, clear diction and ease of delivery in the florid passages.
August 2005 , vol 70 , no.2

Les prochains rendez-vous
Vendredi 12 juillet
Guillaume Tell | Mathilde
Les Chorégies d'Orange | Théâtre Antique

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I Puritani
Opéra de Monte-Carlo | DEC. 2017

Annick Massis manifestement en confiance, délivre un chant aussi expressif que de haute école.                                                                    Le cantabile de « Qui la voce » se déploie sur un souffle infini , avec un art consommé du chiaroscuro.Et son « Virgin vezzosa «  comme «  Vien, diletto « , aux vocalises , échelles chromatiques et trilles impeccables, sont couronnés d’aigus très sûrs, mais toujours intégrés à la phrase.                           

                                                                                  Thierry Guyenne | Opéra Magazine | Jan.2018


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