Melissa Serluco,…Argilla the Gypsy, has a large, even, agile mezzo, admirable fireworks for the showpieces and a takecharge stage presence. Her talents are precisely suited to the part and to any number of Rossini buffo heroines.
In the title role, mezzo-soprano Melissa Serluco turned in an outstanding performance. Aside from her fine vocal assets, she created the character of Argilla with such skill and charm that the surprise ending seemed quite natural...This spunky Gypsy Girl uses her keen intelligence to manipulate all the other characters—not to hurt them but to solve their problems. We are still smiling about her antics.
The leading ladies stole the show, bringing technically sound and genuinely expressive singing to their roles of Carmen and Michaëla. Serluco possessed the weight and timbre of voice needed for the role, complete with ringing high notes, a reliable lower passagio, and gorgeous legato lines in the arias. She played a strong and decidedly manipulative Carmen, standing her ground against all obstacles. Her secondary skills (card reading, castanet playing, and dancing) were practiced and believable, which is no small feat. She promises to bring an excellent Carmen to larger houses in the next few years.
As the eponymous Carmen, mezzo-soprano Melissa Serluco turned in her customary fine performance. As befitting Ms. Eve’s concept, there was nothing sinister about her seductions and one could feel considerable empathy for the character. Both the Habanera and the Seguidilla were performed with style and substance. Having enjoyed her performances with Utopia Opera and Amore Opera, we were unsurprised by the rich texture of her voice and fine phrasing.
Dana Kaufman’s Cycle Kardashian brought the audience to attention, laughing, saddened, torn between the glitz of the images and the sadness of a life where only the closet is comfortable. The music matched and mezzo Melissa Serluco hit her beat perfectly.