Desdemona, Otello

by Beth Stewart


Opera Vlaanderen, 2016

"In all that darkness, the light of this performance is Desdemona. In Corinne Winters, Michael Thalheimer has found a stunning, intense and heartbreaking Desdemona, who draws you in with her arias."
Klara Classical Radio

"With a creamy timbre and a clear underlying gravity, the young North American soprano Corinne Winters delivers an enveloping Desdemona, fascinating with superbly controlled fil di voce."
Bertrand Bolognesi, Anaclase

"In all that lusciousness a sublime Corinne Winters, in her role debut as Desdemona, is a breath of fresh air in the last act: small and intimately she sings her lament ‘Willow Song,' after which she sings the Ave Maria. The American soprano is the bright light of this very old fashioned staging."
Bert Hertogs, Concert News

"Corinne Winters as Desdemona was by far the star of the evening. She showed a very bright lyrical soprano ranging to spinto, a beautiful colour, lavish projection and a dynamically varied delivery. The Willow Song and the fight duet with Otello were undeniably the highlights of the evening. We’ll happily believe she sang an outstanding Donna Anna and we’d love to see her again in Verdi or Puccini repertoire."
Jos Hermans, Leidmotief

"Corinne Winter’s Desdemona suited all the black around her. Her Willow Song sounded beautifully fragile..."
Lennaert van Anken, Place de l'Opera

"Last year, Corinne Winters sang a fantastic Donna Anna. Her Desdemona succeeds, especially in her piano sounds and textual interpretation in the 'Willow Song' and her internalized expression of the 'Ave Maria'."
GOpera

"Corinne Winters offers both the girlish lightness and the desperation for a convincing Desdemona."
Roberto Becker, Online Musik Magazin

"Winters' fragility shone through in her "Willow Song", but her saving grace turned out to be a luminescent Ave Maria, brightening Thalheimer's darkness [with] a dynamic intensity and honesty in her voice."
David Pinedo, Bachtrack

"The Desdemona of Corinne Winters plays marvelously with the stillness of a doll, which the director imposed on her. This doesn’t prevent her voice from unfurling into a maturity and warmth rare for her age. Not a single interval is cheated and the soprano manages to fly over the choir in act III with the ease of a dove."
Dominique Joucken, ForumOpera

"Corinne Winters, a fragile Desdemona, sings her Willow Song with a perfect sense of effect and timing. Conductor Alexander Joel lets the airy notes of her “Ave Maria” flow straight into the growling basses of the finale."
Geert van der Speeten, De Standaard
 
"The way Desdemona and her purity are portrayed can only be described as breathtaking. Corinne Winters (Desdemona) gets to the essence of her fragile character."
Jan-Jakob Delanoye, Cutting Edge

"Desdemona is played by Corinne Winters. Young and petite, but blessed with an impressive voice."
Swa Van De Brul, PodiArt

"The three principals were outstanding. Storey has all the power needed for the role… His Desdemona, Corinne Winters, was equally impressive – she sang beautifully throughout and her soprano opened up in the louder passages."
John McCann, Opera

"The Desdemona of the American soprano Corinne Winters, in her psychological righteousness, is compelling from her first appearance. Her voice is luminous and her technique considerable, with a beautiful legato that works wonders in the last act during the famous "Willow Song" – and the rejection of any external effects makes it deeply moving."
Emmanuel Andrieu, Classique News

"As Otello, Ian Storey is an overwhelming power, facing the Audrey Hepburn-esque Desdemona of Corinne Winters, who is just as strong vocally, but with grace and nuance."
Martine D. Mergeay, La Libre