Violetta, La traviata

by Beth Stewart


English National Opera, 2013

“Corinne Winters gives a performance of genius, with a wonderfully supple voice...Her ‘Amami Alfredo’ was the most heart-rending since Renata Scotto. This Violetta is perfectly poised between Lulu and Mimì.”
Michael Tanner, The Spectator

“Spinning diamantine coloratura, Corinne Winters’ hypnotic Violetta leads an excellent ENO cast.”
John Allison, The London Telegraph

“The young American soprano Corinne Winters, still in her 20s, is the best Violetta ENO have fielded in 25 years. Fresh­toned, faultless and fearless, she was thrilling throughout. And she looks good.”
David Mellor, The Mail on Sunday 

“Sought-­after Corrine Winters plays Violetta, and lives up to the hype...Winters blows all doubts about her ability out the water with her first of many displays of virtuosic coloratura. With this explosive flourish out of the way, the text is liquid and given direction. Winters’s coloratura is daring, vivacious and masterfully executed, coupled with a sotto­ voce so tender she casts a spell over the auditorium.”
Louise Lewis, British Theatre Guide

“This is an unmoving Traviata, but it’s never boring, thanks to the performances Konwitschny gets from his principals—Winters is the best ENO Violetta in decades, and worth the ticket price alone...”
Hugh Canning, The Sunday Times

“The American soprano Corinne Winters, in her European debut, looked great, moved well, acted smartly and sang terrifically.”
Fiona Maddocks, The Guardian

“Corinne Winters hits the infamous high note, surges with passion, and knows exactly when to draw the audience in with barely a whisper. If the idea of this production was to strip it back to its core, then they should have gone even further and let Winters take to a bare stage in a smaller venue — she could still captivate.”
Tim Macavoy, Londonist.com

“Corinne Winters delivered a performance of white­-hot intensity and consummate control, acknowledged by spontaneous applause after many arias and roaring approval at her curtain call.”
Helen Wallace, BBC Music Magazine

“Corinne Winters sings up a storm as the tubercular courtesan ­­ her voice is both rich and agile ­­ and is by far the best thing in the production...”
Warwick Thompson, Bloomberg.com

“...the result makes a good vehicle for the Violetta – a striking, sparkling young American soprano, Corinne Winters, with plenty of vocal stamina...”
Michael White, The London Telegraph

“The young American Corinne Winters makes a UK début of startling assurance. Few Violettas of recent years have matched her for dramatic complexity or stage presence, and she has the requisite vocal resources in spades...Such [directorial] misjudgements will soon fade from the memory and leave behind the imprint of a heroic central performance by an exciting young soprano.”
Mark Valencia, WhatsOnStage.com

“...so impassioned is American soprano Corinne Winters’s Violetta...she fills it with intensity and can do everything Verdi asks: the coloratura hectic flushes of the determination to carry on with the high life at the end of the first scene, the lirico spinto ability to pull out the vocal stops for the big, desperate phrase of “Love me, Alfredo” and the curving lines of anguish in the second party scene, the tenderness of the too­late last love duet...It’s a measure of Winters’s emotional projection that we can still hear her with her back to the audience and as far away from them as the all too vast Coliseum stage allows."
David Nice, The Arts Desk

“Corinne Winters – making what must surely be counted as a sensational European and ENO debut – plays that moment with heartrending truth, putting behind her all the artifice and game­playing and social frivolity of the first scene. Winters is petit and beautiful and physically uninhibited on stage and her voice – more substantial than one might expect – has many colours, not least in the middle and lower register where so many of Verdi’s home­truths lie. The top is brilliant and the delivery fearless and in “Sempre libera” the mix of “torment and pleasure” is vocally and physically intoxicating as she teeters precariously on the edge of a chair as if finally abandoning to the risk that will mark the beginning of the rest of her life. We also get the vertiginous high E­flat to drive the point home.”
Edward Seckerson, Review

“American soprano Corinne Winters gives Violetta her all, singing with dauntless brilliance, attack and gusto...”
Rupert Christiansen, The London Telegraph

“...both Winters and Johnson are exceptional. Her performance is a wonderful combination of feistiness and fragility, sung with unflagging intensity...”
Andrew Clements, The Guardian

Corinne Winters also achieves a convincing character, with a clear voice, secure in the passaggio, radiant high notes, and a solidly supported 'Addio, del passato'.”
Agustín Blanco Bazán, MundoClasico.com (tr. Beth Stewart)

American soprano Corinne Winters was another ENO debutante, here playing Violetta as the toughest of tough cookies. Her vocalism was clean and expert, her buoyant soprano rising easily to the top of the range and encompassing the role's substantial challenges with apparent ease.”
George Hall, Opera News

"Musically ENO was at the absolute top of its game. American soprano Corinne Winters was the recipient of the first Mabel Dorn Reeder Foundation Prize offered by Opera Theater of Saint Louis in recognition of "extraordinary artistic potential" and it is easy to see why. She was a winning Violetta, her clear, agile soprano warmed by a lovely bloom; she is clearly a good actress...Johnson and Winters were strong and confident in their delivery, their two voices blending together beautifully."
Keith Clarke, Musical America