It is now more necessary than ever to reflect on the social role of culture and theater to open up to new technologies that make it possible to enjoy on a large scale the power and magic of opera, which is not a "thing for old people" because it deals with universal and close to all of us. It is a national heritage loved all over the world and should be valued and promoted in every way, even pending a reopening of the theaters and auditoriums.
Claudia Pavone was a splendid Micaëla. Endowed with a vocal quality of captivating beauty, she soared confidently and smoothly in the upper register and warmly in the lower register. Her performance was refined and moving.
Jill Comerford - GB Opera - 18 gennaio 2020
Sydney Arts Guide
Another Italian who made her debut with the company was soprano Claudia Pavone in the role of Micaëla. A fantastic voice with excellent acting skills, it seems odd to place such magnificent talent in a smaller role, but perhaps it could be used as evidence for larger roles in the future. Certainly she has proven herself well, showing a great understanding of the character with the added dimension of development that many others haven't bothered with in the past. Starting as an innocent little country girl who is bullied by soldiers, she becomes a strong-willed woman, even though she ultimately fails to drag Don José away from the criminal life. This may have been the expert influence of director John Bell or his portrayal. Anyway, the public loved it.
Annabelle Drumm – Sydney Arts Guide - 14 gennaio 2020
The star of the evening was our Italian soprano Claudia Pavone, like Micaela, Don Jose's first love. Her voice was wonderful as she pleaded with Don Jose to return to his sick mother.
Victor Grynberg – J-Wire - 14 gennaio 2020
Sydney Morning Herald
Like Micaela, Claudia Pavone sang with a voice of great natural attraction, remarkable purity and frankness of timbre. She modeled her scenes of hers with discretion and discreet poise.
Peter McCallum - Sydney Morning Herald - 12 gennaio 2020
Rivista L'Opera di Ottobre
Let's say right away that Claudia Pavone already has the maturity to face this impervious role: it is no coincidence that in 2015 she was chosen by Riccardo Muti for a performance in the form of a concert in Ravenna, and the lesson of such a coach is evident in the awareness of the theatrical meaning of every note and every word. Just a few examples: the variety of colors and accents in the duet with Germont father, the ''Amami Alfredo" exploded like a roar of love and not a belcanto essay, up to details like that 'È tardi', at the end of the reading of the letter, dry and harsh, and not haggard as has been heard by so many sacred monsters. And then, the technical means: a voice rich in harmonics, powerful in the high pitched and rapacious in certain thrilling half voices. to frame.
Sandro Compagnone - Rivista L'Opera di Ottobre
Claudia Pavone is very talented in designing a Gilda scenically halfway between adolescent and woman, no longer one but not completely the other, which is expressed with the luxuriance of a central register capable, however, of rising to high and high notes without losing substance. , and able to bend in mezzevoci and pianissimi of beautiful dramatic effect.
Domenico Ciccone – Operaclick – 21 luglio 2019
Claudia Pavone's Gilda was also a very pleasant surprise, supported by a perfectly mastered iron technique and a natural gift that gives it a beautiful velvety tone and a respectable volume has outlined a guild that is never flat or boring, there are agility , the phrasing and there is the dramatic power, expressed the different moods and disturbances of the poor daughter of Rigoletto in a convincing and realistic way, from the adolescent naivety of the "Dear Name", to the disappointment that she was able to convey in a convincing way and for this painful, to the disturbing peace of death when this direction makes her already resigned ghost in the presence of her father in the finale.
Roberta Rocchetti – MusiCultura – 22 luglio 2019
Italian soprano Claudia Pavone (Dream Adalgisa last season at the Rennes Opera) sits at the same height as her partners, lending Gilda her youth and the beauty of her singing. Without anything of the mechanical bird that we are too often offered, his Gilda is in line with the Belcantist tradition, both in the precision of the attacks and in the variety of ornamentation. She notably delivers a dazzling "Caro nome", greeted by a round of applause from the audience.
Emmanuel Andrieu – Opera-OnLine.com – 30 luglio 2019
Claudia Pavone's Gilda is perfect, in its lilial purity of voice and intention: the timbre is bright and homogeneous, the volume is sufficiently large, the agility is grainy with confidence, the melodies refined with taste and grace. As desired by the director, her Gilda is not a capricious child, but a teenager who knows what she wants.
Fabio Larovere – Connessi all’Opera – 23 luglio 2019
I admit it, every time I meet Claudia Pavone I am conquered. She is beautiful, she eats the stage and she knows how to sing: very in tune, precise, musical, she maneuvers her breath as if it were a knob for the air, and so on. La Pavone is good-very good, the voice is healthy and fresh: she runs in the room, easily stands out in the high octave and above all, last but not least, comes out of the mouth of a lady musician who knows how to phrasing and who doesn't even miss a note. to pay for it. Applause.
Paolo Locatelli ∙ Il Discorso ∙ 18 Marzo 2019
"The recipe is my little face, in these eyes it is the elixir", sings Adina before the eighth scene of L'Elisir d'amore, and the cunning words are absolutely true when uttered by Claudia Pavone. Too bad the librettist Romani did not add voice among the ingredients of the magical extract, since it is it, added to the evident graces of the soprano, that makes it from the vocal point of view the absolute protagonist of the staging of the Donizetti masterpiece created by Nausica Opera International, Teatro Verdi in Trieste until March 23. The Pavone is, in short, everything that an Adina should be from a singing and scenic point of view. A pleasant timbre in all the textures, the exemplary control of the emission, the fluent agility without any apparent effort, the clear and clear treble and the accurate phrasing and rendered with fine musicality, are combined with the ease and temper of a skilled actress.
Dejan Bozovic ∙ circuitomusica ∙ 16 Marzo 2019
Of the three main roles, the most convincing was Claudia Pavone's Gilda, elegant, with a flawless voice, authentic in her rendition of the fool's daughter.
Michele Manzotti ∙ La Nazione ∙ 19 Dicembre 2018
"Oh, how I've changed," Violetta says astonished, looking at the blood-stained handkerchief she holds in her hand. It is the third act and after an excellent letter - how many sopranos stumble upon the prose! - Claudia Pavone guesses the most intense moment of La Traviata staged at the Verdi in Pordenone, a fresh laboratory setting of the Trieste theater of the same name, where she closed the season a few months ago. Claudia Pavone is a more than convincing Violet. Her voice is light but penetrating and she runs well in the room at high altitude as well as below, the notes are all there and they also seem quite easy, but above all there is Violetta. You believe her; to what she says, to how she moves, to the figure as a whole.
Paolo Locatelli ∙ Operaclick ∙ 22 Ottobre 2018
The principal roles were undertaken by three accomplished singers, all of whom made excellent contributions. Violetta was interpreted by the soprano, Claudia Pavone. Her voice is strong across the range with a colorful pallet, which she used to good effect in delivering an emotionally expressive and passionate performance. In the opening to the duet “Ma se tornado non m’hai salvato” Violetta reflects upon her coming death, and upon the happiness she wanted so much, which is now so close, but that she will never see. Pavone produced an intense rendition in which she displayed her voice’s marvelous flexibility, evidenced by its colorful and dynamic contrasts, which she overlaid with impassioned inflections. Throughout Acts two and three she produced a consistently emotionally charged reading, and if she occasionally lacked a certain amount of beauty it was a price worth paying. In Act one, however, she was less effective – she appears to be more at ease in the heavy emotional scenes. In the opening party scene she sang well, but never managed to fully engage with the character. “Sempre libera” displayed her technically proficient coloratura, but the cabaletta lacked the necessary radiance and vitality. Overall, this was a compelling performance, one which highlighted Pavone’s skills as a singing-actress, and her ability to enter into the emotional heart of a character.
Alan Neilson ∙ Operawire ∙ Agosto 2018
We had listened to Claudia Pavone in the role of Violetta for OperaLombardia and already then we had noticed her ability to make the frivolous and carefree girl particularly credible. We find her a year and a half later as an even more mature interpreter who, even with a delicate voice, was able to make the most of her evolution to the tragedy of her character.
Maria Teresa Giovagnoli ∙ MTGLirica ∙ 16 Giugno 2018
On this ground, he is joined by Claudia Pavone, who, served by a very well dominated voice, offers an Adalgisa, sensitive, fragile but with great strength of soul.
His compatriot Claudia Pavone (Adalgisa) thus steals the show thanks to his many assets: a variegated tone, a bass of a beautiful roundness, a superb agility in the vocalizations, and a nobility of emission which allows him to deliver a song. of neoclassical lineage in perfect harmony with the concept of staging. And then with his voice of soprano (and not of mezzo), this happy discovery marks a return to the true vocalita of the role, such as Vincenzo Bellini wanted it, and that changes us too heavy voices often heard in this employment.
Emmanuel Andrieu ∙ Opera Online ∙ 5 Giugno 2018
In scena online
Wonderfully rendered by the tonal planes, poignant in the contrasts between frivolity and passion and mortal pangs, the story, thanks above all to the beautiful voice of the convincing Claudia Pavone, maintains the strength and suggestion of a story where love, the great protagonist, it is eternally "cross and delight of the whole universe".
Anna Di Mauro ∙ In scena online ∙ 22 Marzo 2018
Claudia Pavone has an elegance of stroke and a singing ductility perfectly suited to the romantic, passionate and lyrically inspired figure of Verdi's Violet.
Her singing is melodically smooth with phatos tips, lyrical and sentimental, truly touching.
Sergio Sciacca ∙ La Sicilia ∙ 22 Marzo 2018
Sold out theater and packed boxes not only for the premiere, but also for the rerun on 17 March which, at the opening of the curtain, showed the protagonist, Claudia Pavone, who earned the title from the very beginning, at the center of the stage. of the best voice and stage presence of the whole show, highly applauded during all three acts….
Standing ovation for Claudia Pavone's Violetta.
Giorgia Landolfo ∙ Catania Today ∙ 19 Marzo 2018
Claudia Pavone was good at describing a fragile but not submissive Gilda. Her voice is beautiful, limpid, crystalline, rising in the upper area with extraordinary naturalness; the attention to the dynamics is remarkable, the half voices are solid and full, the legate really well cared for.
Simone Manfredini ∙ OperaClick ∙ 25 gennaio 2018
I teatridellest e non solo
The winners under the vocal profile are certainly Francesco Landolfi in the eponymous role and Claudia Pavone as Gilda… La Pavone is a convincing guild, with a great mastery of nuances (Gualtier Maldè) and capable of moving thanks to a shrewd and enthralling acting. Her tone is good for her role and her harmony with her father makes her deserve heartfelt approval in the duets.
Paolo T.Fiume ∙ I teatridellest e non solo ∙ 4 gennaio 2018
Claudia Pavone, one year after the excellent Traviata, also registered by OperaLombardia, reconfirms herself as a prestigious vocalist and sensitive artist. Her's is a growing proof ... Her's Gilda appears already from the second act as firm and strong-willed in interpretation as well as in vocality.
"All the feasts at the temple" is carefully chiseled and followed by a "Revenge tremendous revenge" signed by a towering E flat, while at the end of the opera, the pestiferous B flat in pianissimo that dot "Up there in heaven" are a model of purity and intonation.
Andrea Dellabianca ∙ Connessi all'Opera ∙ 6 novembre 2017
Claudia Pavone is a complete protagonist, who in the first act seems to present herself as yet another Violetta with a lyrical-light voice well extended at the top and who will give her best in the cabaletta. In fact, her agility is rather well grained and the Semper Libera is crowned by the traditional E flat ... But the soprano conquers the scene further and more incisively in the following two acts. Young figure, agreeable like the vocal color, of light and sweet mixture, finds the right accents to make the character's dramatic crescendo, both in the conversation with Germont, and in the second finale (masterfully concerted by Rolli and with the Chorus in of his not rare moments of grace) as well as in a well-chiseled Goodbye from the past.
Fabrizio Moschini Firenze ∙ Operaclick ∙ 21 giugno 2017
The cast by Claudia Pavone immediately stands out, making her debut in Florence after having made herself known just like Violetta Valéry in the staging by Alice Rohrwacher who toured the Lombard and Emilian theaters last autumn. While starting the work a little bit of remittance, she already at Brindisi she begins to dispel any doubts by showing off a solid and homogeneous line and a kaleidoscope of colors with which she manages to play in an enviable way. This, combined with a very accurate phrasing of her, allows her to build a well-rounded character, with a thousand shades. A young and impetuous protagonist emerges who is consumed and consumed without wanting to, in a desperate struggle against the world around her: the final act is exemplary in this sense, in particular in "Great God, die yes young", in which every word is the last desperate attempt to remain attached to life. The soprano also manages to emerge - outside of the famous arias, however performed with grace, musicality and wisdom - filling those passing phrases that are often lost such as "Wouldn't you like the dances now?" which is filled, for example, with a wholly exterior frivolity that is seldom heard.
Filippo Antichi ∙ Connessi all'Opera ∙ 18 giugno 2017
The protagonist of the play we witnessed is Claudia Pavone, a very comfortable Violetta in the first part because she has a fresh and fairly agile voice, which then gradually acquires dramatic depth with the succession of events, without weighing down the sounds and still preserving certain naivety in the ways and in the song even in the tragedy.
Maria Teresa Giovagnoli ∙ mtg lirica ∙ 19 dicembre 2016
In the role of Violetta Valery, Mihaela Marcu and Claudia Pavone alternated, the latter engaged in the afternoon performance of 8 December (turn B) at Ponchielli after the good reception received at the debut in the role in the Emilian theaters. She is confident in acting, she demonstrates that she can fully manage the character from both a scenic and vocal point of view, aware of her artistic means, promising but still maturing. With a soft voice, she was able to cope with the agility and difficulties scattered throughout the score.
Federica Fanizza ∙ Apemusicale ∙ 12 dicembre 2016
Claudia Pavone, who debuts the role of Violetta in this production, is an excellent protagonist. Equipped with an agile voice of a frank light lyric soprano, with a clear timbre like crystal, the Pavone sings the part with such naturalness as to leave you almost incredulous .... The shrill voice, the free and homogeneous emission, the very clear diction to all the heights are elements that contribute to the definition of a test of absolute importance. The soprano does not even skimp on dynamics: the strong / piano, piano / forte alternation of B flat in correspondence with the "gioìr" in the first aria, or the support of the long natural A in pianissimo in the "Farewell to the past" are precluded. examples.
Andrea della Bianca ∙ Connessi all'Opera ∙ 10 dicembre 2016
In reference to my first Traviata, conducted by the great M ° Muti in concert form on August 3, 2016
... The voice of Claudia Pavone shines on everyone, a soft and homogeneous Violet, without smudges and with an almost impeccable diction, a very rare commodity among today's singers, to the point that one would never want to stop listening to her so much beauty spreads.