Fiordiligi, Così fan tutte

by Beth Stewart

Royal Opera House Covent Garden, 2016

A great actor, Winters had a regal calmness about her, which suited the gorgeous, rich warmth in her sound. Her "Per pietà" was phenomenal, paced beautifully; she always found room for her best sound, and still she had lovely agility saved for the end. Winters negotiated extraordinarily long lines in a slower-than-necessary quintet. [Her] singing is top-notch, full of style and individuality…”
Jenna Douglas, Schmopera

Corinne Winters has a very pretty soprano voice, with warmth, real character and not a hint of wobble: her Act I aria “Come scoglio” (Like a rock) applied rather more correctly to Winters’ singing technique than to Fiordiligi’s constancy.”
David Karlin, Bachtrack

Corinne Winters is a fearless as well as lyrically charming Fiordiligi, offering an exceptional ‘Per pietà'.”
George Hall, Opera Magazine

Corinne Winters, already an established favorite in London thanks to her appearances with ENO, sang a radiant Fiordiligi, drawing on her mezzo-soprano background to project some solid low notes that complemented her agile work at the top of her range.”
Mark Valencia, Musical America

This success is no doubt also down to a shining cast: Corinne Winters’s rich-toned Fiordiligi…”
Edward Bhesania, The Stage

"Corinne Winters is superb in Fiordiligi’s famous aria “Per pieta” as she falls in love with the man who in real life is her sister’s fiance."
Clare Colvin, Daily Express

Corinne Winters’s superbly conflicted Fiordiligi and Angela Brower’s more easy-going Dorabella — are well aware that they are falling for each other’s men.”
Richard Morrison, The Times

Così is nothing if not an ensemble piece, and this cast is unusually well-matched vocally. Even so, there are standouts in the shape of Daniel Behle’s volatile Ferrando, and in the sheer spirit with which Corinne Winters’s by that point almost suicidally troubled Fiordiligi attacks every note of Per Pietà.”
George Hall, The Guardian

Winters is a splendid tormented Fiordiligi and sings her two highpoint arias with panache.”
Owen Davies, Plays to See

Winters’ Fiordiligi is indeed as ‘steady as a rock’ vocally: she has a bright, ringing top and she agilely leapt through ‘Come scoglio’.”
Claire Seymour, Opera Today

American Corinne Winters was an indecisive Fiordiligi with a warm and beautiful soprano. She was particularly good in the arias ‘Come scoglio’ and ‘Per pietà’, delivered with touching sensitivity and sadness. Fantastic.”
Fanáticos da Opera

Probably the best sung Così that I have ever seen. With American soprano Corinne Winters glorious as Fiordiligi…it produces a wonderful evening.”
William Hartston, Daily Express

When Fiordiligi (Corinne Winters) pours out her torment in “Per pietà” and then succumbs to the rapture of forbidden love in the duet “Fra gli amplessi”, it’s clear Mozart isn’t being ironic but the staging doesn’t quite support this emotional truth. With her impressively weighty voice, Winters isn’t perhaps an ideal Fiordiligi, but she has a thrilling stage presence and offers an intriguing and detailed performance.”
Warwick Thompson, Blouin Art Info

As the two with the most stage time, Dorabella (Brower) and Fiordiligi (Winters) have the most daunting of vocal tasks. But carry it they do, with Winters’ mastery of melisma and technical delivery being particularly noteworthy. This is a young cast, but one that carries the mantle of Mozart’s great work without strain.”
Daniel Perks, Exeunt Magazine

Three performances stand out in particular, and the first is that of Corinne Winters as Fiordiligi. This may be her Royal Opera debut, but she seems totally at ease as she ensures that ‘Per pietà, ben mio, perdona’ becomes a definite highlight of the evening. Her voice is extremely rounded so that the high notes almost do not seem to be because they feel so rich and full.”
Sam Smith, musicOMH

Both Corinne Winters and Angela Brower give delightful accounts of the young women. Winters in particular sings a Fiordiligi of rare range and beauty, with surprisingly strong mezzo notes as well as a radiant upper range.”
Mark Valencia, What’s On Stage