“… this is an enjoyable album, especially if you have appreciated Richardson’s performance in the theatre.” ***

“In a personal note included in the booklet, the soprano Linda Richardson writes about her initial inspiration for becoming a singer and especially of her ‘special love and affinity for the roles that stood as pillars in Italian opera’. The disc represents a worthy celebration of her commitment to that repertoire… Throughout the disc Wilson and his exceptional orchestra offer plenty of refined detail, and between them he and Richardson have judge tempos astutely.”

“… The final scene from Madama Butterfly is remarkably effective, partly down to Richardson’s stage experience but also to the outstanding playing of the Sinfonia of London under John Wilson, who really lands the orchestral punches...She certainly pulled out all the plums, and anyone who has enjoyed her performances should be encouraged to investigate this album.”

“… Richardson is at her best when using her voice to strongly characterize her roles. Her distinctive level of communication takes one to the heart of the action… Maria Callas made the arias “Vissi d’arte”, “Casta Diva” and “Senza Mamma” her own, and these are naturally difficult to replicate with the same dramatic effect. Richardson doesn’t aim to imitate, but finds her own footing. In “Casta Diva” for example, the melismatic phrases have a different intensity and colour to Callas — or even Sutherland, but bring a different facet to Norma’s character. The drama peaks appropriately in the album’s final excerpt “Tu? Tu? Piccolo iddio!” from ‘Madama Butterfly’ (in which Jung Soo Yun makes a brief appearance as Pinkerton); Wilson and Richardson bring the operatic and musical experience full circle, returning to the dark, Italianate and passionate mood of the opening. The sound from the Sinfonia of London is weighty, rich, full-bodied and more symphonic than operatic, making the orchestral passages magical … The booklet provides notes from Richardson and a brief synopsis, setting each extract in context — an ideal starting point for opera novices…”