Scarlatti’s Erminia (Opera Lafayette, 2018)

“Finally, mezzo-soprano Allegra De Vita displays a beautiful voice in the pants role of Tancredi.  I have seen her in three performances in a little over a year, as a glamorous wife of a dictator (The Dictator’s Wife), as a dead teen child of a prairie family (Proving Up), and now as a male crusader; she was excellent in all three.  How’s that for versatility!”

 Opera Gene, <February 6, 2018>

“The most arresting and effective performer was Allegra De Vita in the castrato role of Tancredi. She was most at home in both recitative and aria revealing a full ruby-rich mezzo. Although her music wasn’t quite as florid as Erminia’s she showed a fine command of the fiery roulades of her jealousy aria. Her brusque stride and startlingly convincing makeup and beard momentarily led some in the audience to assume she might be an accomplished countertenor.”

Christopher Corwin, Parterre Box, <February 5, 2018>

“Ms. De Vita, in the smaller male role of Tancredi, proved yet more remarkable, with incisive diction: Her vocalism burns like a dark flame.”

Alastair Macaulay, The New York Times, <February 4, 2018>

“What can we say about Allegra De Vita? (As another close follower of opera shared with me, “We love her!”) How can we compare this singing-actress to anything but a force of nature – or that thing she does onstage – some kind of shamanic transformation.  As a fox in Washington National Opera’s The Little Prince, she was sly, mincing, and positively prancing on all fours.  When I saw her in Cato in Utica up at Glimmerglass Opera in 2015, she burst onto the stage, as I described it then, “a [macho] beast.”

In another pants role, here she plays the hero Tancredi in Erminia.  Wasp-waisted and her facial features transformed by a trim beard and moustache, she made me gasp as she came to life, a perfect Indian miniature hero onstage.  Her character was all restrained refinement but emotionally seething underneath.  She pulled out of the orchestral score single instrumental lines which fed and enlivened her every thought so it became a dialogue of music and gesture.  Sometimes her fingers strummed the air angrily as she fought for composure, sometimes her knee trembled in agonized jealousy.  Everything about her is so alive in every moment, and she brings out the best in everyone around her.”

Susan Galbraith, DC Theatre Scene, <February 1, 2018>

“The most striking performance was Allegra De Vita’s astounding trouser-role turn as Tancredi, complete with beard and utterly convincing male movement. Coming just two weeks after playing a radically different character in Missy Mazzoli’s Proving Up, this young singer showed extraordinary dramatic range in her Opera Lafayette debut. With a smooth legato finish in copious runs, extraordinary embellishments, and some laser-precise top notes, she led the way vocally as well.”

Charles T. Downey, Washington Classical Review, <January 31, 2018>