Rossini’s La Gazza Ladra (The Thieving Magpie) (Glimmerglass, 2016)

“Angelini shared honours for best Rossini style with the Pippo, deftly phrase-etching mezzo Allegra De Vita–superb as Vivaldi’s Fulvio in 2015 and promised as Handel’s Arsamene next year.”

David Shengold, Opera (UK), <November 2016>

“Rachele Gilmore, playing the hapless Ninetta, was at her best in her duets with Michele Angelini, as her lover, Giannetto, and Young Artist Allegra De Vita, as the serving boy Pippo…De Vita deployed her smoke-infused lyric mezzo with spot-on musical accuracy.  When the supremely agile Gilmore joined voices with these two able colleagues, the result was music-making that combined virtuosity with lyricism.”

Fred Cohn, Opera News, <October 2016>

“Pippo, a trouser role, vividly and ably sung by Allegra De Vita”

Seth Lachterman, Berkshire Review, <October 22, 2016>

“Young Artist mezzo-soprano Allegra De Vita, in the “trousers” role of the peasant boy Pippo, proved ardent and warm-voiced, movingly portraying the character’s platonic devotion to Ninetta while dressed in an eye-popping, groovy, and feathery, mustard-colored get-up that was part magpie, part Mad Max: Fury Road.”

Charles Geyer, La Scena Musicale, <August 26, 2016>

“The stand out Young Artist, I thought, was Allegra De Vita (Pippo, a trouser role), who possesses a strong mezzo and had a couple of big scenes and always rose to the occasion.”

 Opera Lively, <August 26, 2016>

“The trouser role of Pippo, Ninetta’s lively friend, is brilliantly delivered by Allegra De Vita who seems to be having the time of her life (and Pippo is the one who eventually solves the mystery).”

Michael Johnson, ConcertNet.com, <August 18, 2016>

“Ninetta’s friend Pippo (the mellifluous mezzo Allegra De Vita) had the yellow plumage of tropical bird”

Heidi Waleson, Wall Street Journal, <August 16, 2016>

Connecticut mezzo-soprano Allegra De Vita, whom I had admired in baroque opera last season [see Review: Ovations for John Holiday’s Cesare in American Premiere of Vivaldi’s “Cato in Utica” – Glimmerglass Festival, July 18, 2015] enchantingly performed the role of Pippo, the boy who is Ninetta’s guy confidante.

William Burnett, OperaWarhorses.com, <August 14, 2016>

“The best singing came in the second act, especially in Gilmore’s duet with Allegra De Vita, who really stood out in the pants role of Pippo, Ninetta’s servant sidekick. Theirs was a scene where emotional truth and beautiful blending of sound has all the presence that one lives for experiencing opera.

Susan Galbraith, DCTheatreScene.com, <August 2, 2016>

“One of the highlights from Act II was the harrowing friendship duet between Ninetta, who was basically on stage the entire evening, and the loyal Pippo, a pants role sung by a playful Allegra De Vita. They so beautifully fused their voices together in this emotional low point that occurs after poor Ninetta has been imprisoned over the fork and the spoon. De Vita has a heart-wrenching delicacy to her sound and she pushed Gilmore to new heights of expressivity. It was such a touching moment that it hardly seemed at home in the context of the rest of this opera, at least in this treatment of it.

Ninetta, Giannetto and Pippo were all very strongly acted and sung.

www.AllegriconFuoco.com, <July 31, 2016>

“Mezzo-soprano Allegra De Vita in the trouser role of Pippo is outstanding, deploying a plush, mellifluous voice that blends and harmonizes perfectly with other principals and the ensemble of roughly 15 other participants from the Young Artist program. She is on track for a major stage career.”

Richard Carter, Blasting News Lifestyle, <July 27, 2016>

“Other duets, especially those of Ninetta and her father, sung by Dale Travis, and Ninetta with Pippo—a show stopper that comes late in Act II—are beautifully phrased and delicately balanced. Pippo, a loyal friend, is enacted with endearing sprightliness by Allegra DeVita.”

Linda Loomis, New York Upstate, <July 19, 2016>