Benedetta Orsi
Florida Grand Opera – Premiere “El matrimonio secreto”
“On the plus side, Benedetta Orsi and Darwin Aquino’s Spanish libretto works remarkably well with Cimarosa’s bubbly score, which at its most inspired slightly recalls the lighter operas of Mozart.”
— Lawrence Budmen, South Florida Classical Review
La Voix de L'Amour
“Benedetta has a beautiful voice, that is very unusual to find nowadays, a mix between mezzosoprano and contralto. We were used to listen to big voices like Callas and Benedetta has nothing to fear in the comparison: dark, sensual, rich color that capture the listeners. It is simply a pleasure to listen to her new album, "La Voix de l’amour."
Anna Menichetti, Radio Svizzera Italia
V. Bellini “Norma”
“Adalgisa was Italian mezzo-soprano (and Winter Opera’s chorus master) Benedetta Orsi. Orsi has an enormous instrument, solid through most of its range; she has great presence and was thoroughly convincing. Her scenes with Norma were high points of the evening.”
— Sarah Bryan Miller, St. Louis Post-Dispatch
“Benedetta Orsi gave us a splendid Carmen two years ago: now, in the role of Adalgisa, she simply stuns us with the sheer beauty of her voice. With remarkable easy power and perfect diction, she accomplish a magic thing: she let us clearly perceive the very details of her performance. With Mrs. Orsi it’s as if the Gods had given us spectacles for our ears - she’s in such complete control of her remarkable instrument that each syllable, each semi-quaver is a lucid gem.”
— Steven Callahan, Broadway World Opera
“There’s also fine work by Italian mezzo-soprano Benedetta Orsi in the role of Adalgisa.”
— Mark Bretz, Ladue News
“Mezzo-soprano Benedetta Orsi, who gave us such a memorable "Carmen" at Winter Opera in 2017, impresses once again as the young priestess Adalgisa, whom Pollione tries to spirit away to Rome. The role is smaller than Norma but still very demanding, and Ms. Orsi's dark, powerful voice handles it easily. Some of the best moments in this production happen in her duets with Norma, as if the two were drawing strength from each other.”
— Chuck Lavazzi, KDHX
G. Bizet “Carmen”
“Benedetta Orsi as the title character has a voice that has a solid, textured quality that fits well with the tough, aggressive character of Carmen. She nailed the high notes as effortlessly as she seduced both smugglers and soldiers and, with her excellent acting chops, commanded attention every moment she was on stage. This was a Carmen who could switch instantly and convincingly from tender to angry and back again, sometimes in a single phrase.”
— John Huxhold, St. Louis Post-Dispatch
“And we are utterly and truly seduced by the vocal gifts of this Carmen. Benedetta Orsi has a quite breathtakingly beautiful voice, full and rich, with such easily accessed resources of power. The tightly but naturally controlled vibrato, the subtle textured timbre-like "tooth" on fine paper, the occasional little gliss or portamento into a pitch. These all beautifully support the strongly carnal nature of this woman. And she can act! She flirts and plays and menaces. She gives us a simply perfect "Habanera". All in all a glorious job! And she looks every inch a gypsy.”
— Steven Callahan, Broadway World Opera
“It's a good thing, then, that Winter Opera has Italian mezzo Benedetta Orsi in the title role. With a dark, sensuous voice and a lubricious stage presence, she's totally convincing as the most desirable woman in Seville. Her "Habanera" exudes a smoky sensuality that dominates the stage.”
— Chuck Lavazzi, Stage Left
G. Verdi “Un ballo in maschera”
“Italian mezzo Benedetta Orsi brought a gutsy chest voice, striking stage presence and ample power in the lowest extremes to Ulrica’s proclamations.”
— Lawrence Budmen, Miami Herald
“Muy encomiable la Ulrica de Benedetta Orsi, que supo lucirse en su breve papel."
— Daniel Fernández, El nuevo Herald
“Benedetta Orsi’s Ulrica was in full command. As is often the case with this role, her few very low notes could have been stronger but who can complain when a performer exhibits such a strong characterization.”
— Jeff Haller, The Classical Music Network
G. Donizetti “Anna Bolena”
“Benedetta Orsi excels as Giovanna, and it is remarkable to note that this is her full-role debut, because in the complex relationship with the queen, she creates just the right stage alchemy, with sumptuous voice and particularly incisive delivery.”
— Richard Wilcocks, Backtrack
“Benedetta’s rich, expressive and powerful voice was put in a great way to portray this guilt driven and yet passionately madly in love Lady in Waiting. Confrontation scene like any major opera house would love to stage, brilliantly culminating in top C.”
— Minjas Zugik, Curtains Call
G. Donizetti “Roberto Devereux”
“But vocal honours undoubtedly go to Benedetta Orsi as Sara, Duchess of Nottingham. A remarkably rich voice and seemingly a true contralto (albeit one who can manage a top B flat without difficulty), she could undoubtedly fill the largest hall but is also capable of a whispered pianissimo.”
— Roger Smith, Backtrack