Monologues
Chief amongst these is Anna Bonitatibus as a fiercely confident and vocally agile Agrippina (her opening number “L’alma mia fra le tempeste” was astonishing), whose expressive range fully inhabited a changing persona; her self-doubt in “Pensieri” was as compelling as her fake devotion in “Se vuoi pace, o volto amato”.
✭✭✭✭✭ Bachtrack, David Truslove, 06.2018
And in Anna Bonitatibus the title role is incarnated to perfection: manipulative, imperious, yet at the same time racked by doubt, this charismatic Italian mezzo dominates the production with massive vocal power.
✭✭✭✭✭ The Indipendent, Michael Church, 06.2018
Dominating everything was Anna Bonitatibus as the puppet-master Agrippina, who handled Handel’s big set-piece virtuoso arias with magnificent aplomb.
✭✭✭✭✭ The Telegraph, 06.2018
Anna Bonitatibus leads the way with an impressively confident realisation of Agrippina as she feigns sympathy, concern, and amorousness with various others in order to get her way. She negotiates effortlessly several changes of persona, costumes and musical characterisation to depict irresistibly this wily figure of Roman history.
✭✭✭✭✭ Classical Source, Curtis Rogers, 06.2018