Reviews

Moise et Pharaon

Elisa Balbo, the Anna Erisso in Maometto II who charmed last year’s audience in Bad Wildbad, doesn’t leave anything to be desired as Anaï thanks to her shining soprano and stupendous dramatic eruptions in the high notes.

Elisa Balbo clearly portrays the tragic tumult of Anaï’s love with her bright soprano, confident high notes and convincing dramatic ease. She contributes to the performance with her great scene in the 4th act and in the touching duet with Aménophis with moving accents.

Among the numerous Egyptian-Israeli personnel, the lovers Anai-Amenophis are by far the most interesting and touching factor… In particular, the games of this couple, breathtakingly sung by Randall Bills and Elisa Balbo, show how the artificial skill of Rossini's voices are not only in the service of comic equilibria, but can also be very convincing as an expression of extreme "serious" feelings.

As Anais, Moises’s daughter, Elisa Balbo transformed the sharp traits of her soprano into vocal fireworks.

"Elisa Balbo, also torn between the political opponents and the compelling power of love, won quickly the hearts of the audience with her elegant soprano voice, moving pianos and weighty legato."


Maometto II - Bad Wildbad

“Elisa Balbo designed the role of Anna with dramatic heights and a volume that one hardly expects from this petite person. With her impeccable soprano on the one hand, she works hard to bring out the suffering of the young woman and, with great charisma and exorbitant coloratura, proves to be a heroic martyr who dies without fear. She succeeds the big scene in the end, when she confidently meets the muslims. In her cavatina at the beginning of the opera, on the other hand, she looks like a vulnerable child.”

"In the main role of Anna, Elisa Balbo introduced herself for the first time to the public in Bad Wildbad and impressed with her slender figure, her sensibility as an interpreter, as well as her technical soprano skills. In the course of the performance, the initial echoes of sharpness disappeared, the smooth twines of the bel canto style and dramatic escalation corresponded exactly to what the role demanded."

"The grandiose part of Anna was sung in 1820 by the legendary Rossini prima donna Isabella Colbran. In Wildbad, the young Italian soprano Elisa Balbo brilliantly fulfilled the extraordinary requirements of the role in acting and, above all, singing."

"The soprano Elisa Balbo was initially a rather cold Anna, but throughout the performance, the voice warmed up pleasantly. She also did not spare herself, and despite the heavy role, her voice did not show the slightest signs of fatigue. On the contrary, she flourished into the magistral figure she had to portray."

“Elisa Balbo (Anna), in the dominant and extraordinary soprano role, after the less relaxed start at the beginning of the evening, gradually consolidated and demonstrated a proficient coloring technique.”

“Anna Erisso was the young Elisa Balbo: interesting stage presence, some fragility in the vocal emission, she faces a very difficult role and the long tragic scene of the Neapolitan finale showing to be mature vocalist material.”

"The young Elisa Balbo is great in Anna, ideally thin and above all actress, but already very confident in her singing."

“Elisa Balbo, on the other hand, was unknown to us. Endowed with the slenderness advocated by fashion magazines, she offers the image of a fragility ready to bend under the storms that threaten it, war-like or sentimental. The voice, very extended, with a solid centre and bass registers, appears to us a little strident in the superaigus ... Flexibility and agility are real and remarkable, but should be refined ... With her available material and her determination, which seems clear, this newcomer to the Rossini world should make her place.”


Turandot - Sassari

“More convincing is the Liu sang by the young Elisa Balbo, who debuted the role. She gave her character the wide palette of colors needed, representing a convincing dialectic opposition to Turandot.”

“The power of Rebeka Lokar's Turandot amazed everyone, as well as the debut in the role of the young Elisa Balbo, a sweet and passionate Liù.”

“Very well the young Elisa Balbo, a passionate Liu with a clear and secure sound, who immediately conquered the audience.”

“In fact, Balbo presents a light, clear voice enlivened by an interesting dynamic flow that leads her to always phrase with conviction and excellent expression: in Tu, che di gel sei cinta, she finds and delivers a moving interpretation.”


La Vedova Allegra - Verona

“So the criticism that could be moved to Elisa Balbo and her "alleged youth" with respect to the role, doesn’t hold before a really convincing performance. The voice of pure lyric soprano is very beautiful, bright in the upper register and filled with velvety pianissimos, that shone in the Vilja Lied, which was really well sung. As an actress she is all but inert, and she moves with great elegance in the sumptuous dresses by Orlandi (very different from the "rags" to which singers are accustomed in 2017). Anna Glawary is a young woman who perfectly knows how the world works, but at the same time she has her fragilities (“Il cavalier ch’io voglio è un tal che finger sa così come se io non fossi qui!… “) and Balbo is perfectly able to perfectly communicate all this.”

"Elisa Balbo wore the shimmering dresses of Hanna Glawari. The characteristics of her voice, soft and sweet and at the same time full-bodied and firm, corresponded to the volatile character of the young and beautiful widow who, with skilful feminine arts, eventually receives the proof of his long-time lover’s, Count Danilo, sincere and disinterested feelings."

“Elisa Balbo portrays a totally believable Hanna Glawari, starting from a secure singing line on which a rich and well-colored phrasing develops.”


2016

La Repubblica veneta

“L’interpretazione solistica del soprano ligure Elisa Balbo si è contraddistinta per un fraseggio aderente alle intenzioni della compagine orchestrale, fortemente coesa nella ricerca della tinta straussiana, mostrando un’ottima capacità di produrre emozioni con autenticità e genuinità. Un’esecuzione in crescita costante dopo l’inizio, con il secondo e terzo lieder evocati con tanto pudore, come un sussurro a fior di labbra e caratterizzati da un lirismo e un fraseggio intessuto di venature poetiche, da lacrime agli occhi. Alla fine del quarto una lunga ovazione e tanto entusiasmo per un artista di cui la carriera appare già nel segno del firmamento canoro”

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Agro24

“L’artista ligure (…) si è spostata ora su pagine in cui la voce si fonde con l’orchestra, per diventarne uno strumento al pari degli altri. L’interpretazione del soprano si è fatta apprezzare per una raffinatezza esecutiva ricca di colori, sfumature, filati e slanci.”

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Glasgow Theatre Blog

“Bocelli is backed by the Royal Philharmonic Orchestra and the Edinburgh Royal Choral Union and a series of hand-picked guests from the classical musical world: Soprano Elisa Balbo is outstanding in O mio babbino caro and Casta Diva and in the encore duet with Bocelli, Con Te Partiro..”

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Herald Scotland

“soprano Elisa Balbo excelled in a solo performance of O mio babbino caro, and her encore duet with Bocelli (the apt Con Te Partiro) was goose-bump-inducin..”

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Globus Magazine

“…ben costruita ed armoniosa è l’attesissima “Si, mi chiamano Mimì”, nel primo quadro, di Mimì (Elisa Balbo).” “…commovente e vero il finale di Mimì con “Sono andati? Fingevo di dormire” che conduce al tragico epilogo finale.”

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Messinaora

“Elisa Balbo, la giovane soprano che esprime perfettamente la figura dolce e malata di Mimi una creatura che “ha premura di vivere perché ha paura di morire”.”

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2013

Il Sole 24 ore

“…”Casta diva” (Norma di Bellini), interpretata da Shizuka Arakawa e cantata egregiamente da Elisa Balbo della Fondazione Pavarotti, sono state tra quelle più applaudite anche dal pubblico meno avezzo alla musica lirica…”

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Il giornale della musica

“…assai brillanti e con intensa verve espressiva Elisa Balbo (Alice), Anna Malavasi (Meg), Isabel De Paoli (Quickly) e Damiana Mizzi (Nannetta), interpreti molto ben scelte per i loro rispettivi ruoli.”

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La gazzetta di Lucca

“Bravissime le comari Elisa Balbo in Mrs. Alice Ford, Mrs. Quickly Isabel De Paoli, Mrs. Meg Page Anna Malavasi.”

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Absolute Skating

“And the beautiful voice of soprano Elisa Balbo adds even more magic to Shizuka’s skating: the music draws a lot of applause from the audience, as much as the happenings on the ice.””

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