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3"No one sang better than soprano Sydney Baedke. Countess Almaviva is an oddly two-dimensional being, practically a martyr figure, hopelessly devoted to her husband despite his infidelities. Baedke made the character otherworldly, almost heavenly, giving The Marriage of Figaro a sense of pathos luminating the earthly rabble-rousing down below. The all-too-brief Porgi amor, during which the countess longs for her husband’s affections, was notable for the singer’s exquisite legato phrasing. Immediately we realize this was a singer to be reckoned with. The famous Dove Sono was equally impressive, with Baedke revealing a sweet, pure voice that projected thrillingly."
“The Royal Opera's devastating staging features a faultless cast of young singers... Sydney Baedke (Female Chorus) sang magnificently... her soprano was even throughout the range, expressive and free in the upper reaches of the role."
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5“The Royal Opera's devastating staging features a faultless cast of young singers... Sydney Baedke (Female Chorus) sang magnificently... her soprano was even throughout the range, expressive and free in the upper reaches of the role."
Contemporary resonances abound in this revival of Benjamin Britten’s opera
"Sydney Baedke was the revelation of the evening, in terms of aura, vocal control, and dynamics. In our opinion, we would even be interested to see her take on Mimi, as she possesses the roundness and vocal warmth." (Translated from French)
