Young Federica Guida is at ease on stage and outlines a fragile and naïve Gilda. Her voice is well projected and homogeneous throughout. A brilliant treble and a well-controlled centre. She has a beautiful legato that allows her to play with her voice and provide excellent vocals in the famous aria Caro nome. Her stage presence was beautiful, graceful, and she interacted with colleagues with extreme ease. Read more
Musetta is also excellent, entrusted to Federica Guida. Finally a coquettish Musetta who doesn’t shrill vocally. With a perfect, brilliant and adamantine voice Federica Guida manages to play a Puccini character with dignity and femininity. Read more
The Musetta of a very young Federica Guida carves out a great personal success, in the freshness of her timbre as in the elegance of her soft vocal line: her « Quando men vo » has all the irresistible charm of the end of the century chanson. Read more
Federica Guida is a pungent and penetrating Oscar, frivolous in outlining the boldness of the young servant. In Volta la terrea she flaunts clear and ringing high notes. Read more
Federica Guida is a lively and enchanting Oscar, with agility well unravelled with trebles, B flats and natural Bs in ballad and song, bright and with a beautiful and sure ascent to C in the quintet. Read more
I consider the soprano Federica Guida in the role of Adele the most eminent personality of the stage. The young singer has already made her debut at the Scala in Milan, at the Vienna State Opera and on other important stages, where she has performed as the Regina della Notte, Despina, Gilda, Musetta and Oscar. With all her performances, Guida literally “lit up” the event both singing and acting, and her rendition of the couplet “Mein Herr Marquis” (“My Marquis” here, played and sung in the Italian translation by Gino Negri) was one of the highlights of the performance. Read more
A protagonist flanked with beautiful vocal and interpretative affinity from Federica Guida’s Gilda, capable of managing her soprano voice with solid awareness and an expressively rich taste, effective in outlining her character as a young woman in love but aware, avoiding too childish nuances. Read more
The twenty-five-year-old singer from Palermo was, for me, the most interesting element of this rendition of Rigoletto. Her voice is robust, very timbred and engaging to listen to. In the cavatina she was been able to combine agility and carnality in the best way.
The long hairpin at the end of the cadenza was breath-taking and the diminuendo on the final trill was flawless. The long and very loud applause, in my opinion the most intense of the whole afternoon, that welcomed her was fully deserved.
This image of Gilda as a girl who is not naïve but aware of her own irrepressible femininity has been confirmed both by the extraordinary second verse of “Tutte le feste al tempio”, during the verse “per l’amato ti chiedo pietà!” and at the end of “Vendetta” (which for Piave and Verdi is addressed not to the father but to a “great god”, thus making the above directorial choice even less justified). Also in the second part of the quartet the role of the soprano appeared dominant, and the conclusion of the final duet was full of regret for an earthly happiness that had just happened.
Beyond the grateful praise for these results, it seems to me a duty to recommend to Guida not to exceed her commitments and to devote all the necessary time to perfecting a vocal instrument which, if not exploited clumsily, will be able to offer high honours and great joy to whoever listens to it. Read more