“[…] Valletto, which in turn was played by Francesca Boncompagni immensely lively, which also sang the agile goddess Amore”.
[Arndt Voss, www.nmz.de, June 2019]
“Francesca Boncompagni, as the goddess Costanza, made a strong impression. She possesses an attractive soprano, strong and steady across the range, with a secure technique. Her aria, “Ciglio che al sol si gira”, in which she states the case for moderation, was beautifully crafted, the subtle embellishments and the arresting beauty of her coloratura wonderfully delivered. Likewise the aria “Biancheggia in mar lo scoglio”, was delightfully managed, the agility of her voice clearly displayed during the vocalising passages. Moreover, she was always attentive to the meaning of the recitatives which were pleasingly phrased”.
[Alan Neilson, www.operawire.com, February 2019]
“Among the cast, Francesca Boncompagni’s Costanza is particularly impressive, able to do suitable coloratura and virtuosity without any imprecision in the not easy arias “Ciglio che al sol si gira” and “Biancheggia in mar lo scoglio”.
[Luca Benvenuti, www.ilsestantenews.it, February 2019]
“Costanza (Francesca Boncompagni) [sounds] soft and very elegant, standing out from the other singers also for her dramatic intentions and convinction playing her role in every moment of the opera”.
[Mauro Masiero, www.wanderersite.com, febbraio 2019]
“Probably the famous papal castrato Andrea Adami sang the cantatas in front of the guests of Cardinal Ottoboni. The soprano Francesca Boncompagni slips into his role on the CD. Angelic and with a flawless vocal culture, she breathes new life into her part. This is all about thoughts and feelings that gain soul and form through the sound of human voice. Francesca Boncompagni masters this difficult exercise in restraint and non-vanity with mastery and perfection. A CD, classy as an exquisite small painting and ideally suited for a quiet winter evening and a fantasy journey to Baroque Rome”.
[Volker Sellmann, www.br-klassik.de, December 2018]
“The evening’s undisputed protagonist was the great Francesca Boncompagni, soprano with a soothing and sweet voice united to a rock solid pronounciation, able to astound the audience, religiously absorbed, with the beautiful ‘Non sa che sia dolore’ BWV 209, one of the cantatas in Italian credited to the genius Bach.
Great were also the tenor Raffaele Giordani and the bass Salvo Vitale that, together with Francesca Boncompagni, created an interesting reading of the famous Kaffeekantate ‘Schweigt Stille, plauderet nicht’ BWV 211.
The vocal trio impresses for the homogeneity of the dramatic intensity, for the great cohesion and the pleasant tone mix, to which they add a remarkable pronounciation of the German language, something which is in no way to be given for granted for Italian singers”.
[Enrico Gramigna, www.ravennaedintorni.it, October 2018]
“Francesca Boncompagni (1984) from Arezzo, has a crystal clear voice. Her occasional, light vibrato sounds fitting as a natural portamento, while she also sings tight, flat highs. Together with the warm sound of the continuo with often a virtuoso party of the cello, she interprets the lyrics and the music in various moods, from cheerful and dancing to langoure and affective. Lyrical arias alternate with dramatically expressive sung recitatives. Very very beautiful. […] [A CD] highly recommended”.
[Michel Dutrieue, www.stretto.be, October 2018]
“[In Lulier’s CD “Cantate e Sonate”] the vocal contribution of Francesca Boncompagni is technically impressive and beautifully dramatized”.
[James Ross, www.earlymusicreviews, October 2018]
“[…] [Jommelli’s] “Dominus a dextris tuis” shows us quickly the entire range of her talent, with a solid vocal emission and a by now impeccable word diction. In [Pergolesi’s] “Messa in re” her crystal clear ornaments are again stunning, and she manages with a disconcerting ease the tremendous vocal difficulties of the “Quoniam”, whose glows sound through the Abbey enchanting the audience”.
[Bruno Maury, www.baroquiades.com, October 2018]
“Wonderful baroque voices […] but, maybe, the most pleasant surprise [was] Francesca Boncompagni”.
[Cinzia Colzi, www.artearti.net, June 2018]
“Francesca Boncompagni’s Dafne [was] adequate, with a pretty and delicate figure, and with an homogeneous voice and a very personal colour, angelic both in singing and in acting”.
[Fabrizio Moschini, www.operaclick.com, June 2018]
“Francesca Boncompagni (Euridice) has the most difficult role of the opera: she must convince the audience about her presence and her grace, she must dazzle it with two short sentences, the first one in the beginning, and the second one in the end of the opera. Not even three minutes of music. And she brilliantly succedes: a crystal clear voice running all over the theater, a perfect diction of the words and a moving colour of her voice really make an Euridice whom is worthy to disturb the god of the Underworld for”.
[Chiara Lepore, www.lospecchiodisesto.it, March 2018]
“The third leading soprano [was] Francesca Boncompagni playing the role of Euridice, impressing with the crystal clear beauty of her voice”.
[Stefano Gazzera, www.ierioggidomaniopera.wordpress.com, March 2018]
“Francesca Boncompagni is a particularly pleasing Euridice. Although her part in the opera is not so long, the soprano from Arezzo gives an impressive character to the role of the nymph. Especially, it was touching her ‘Così per troppo amore, dunque, mi perdi’ in the fourth Act”.
[Salvatore Blasco, www.connessiallopera.it, March 2018]
“[…] the actual disclosure of the show [was] soprano Francesca Boncompagni, who with her gumption, the beauty of her voice and a sober taste of virtuosity did really obey with philological strictness to the rules of the baroque language, without any stiffness or mechanicity of interpretation. She sang indeed with grace, strenght and abandon, with the right techinque, fluent coloratura and a vocal emission built with the principles of the most genuine vocality.
That’s why the performance did not skimp on charm and vivacity, and wasn’t mechanicaly reduced to series of notes diligently spelled, or squeals in name of some presumed and chimerical purity of style.
Boncompagni, matched with scrupulous musicians […] she showed a perfect feeling with, always amused and never bored, obeying to the sweet principle of ‘movere delectando’. So, it was a concert of classy artists, absolutely scrupulous about the stylistic rules, and widely versatile, intelligent interpreters, some authentically virtuosos”.
[Silvana La Porta, www.aetnascuola.it, December 2017]
“Boncompagni was just as expressive and affecting as the principals in her turn, ‘Signor, quell’infelice’.”
[George Grella, New York Classical review, October 2017]
“Proserpina was sung by the Italian soprano Francesca Boncompagni, her dramatic play is touching, especially when convincing Plutone. A beautiful radiant tone and a deep volume helped with a good breath gives her a convincing energy despite the short moments of her presence on stage.”
[Julien Bouvet, www.olryx.com, September 2017]
“[it was] moving soprano Francesca Boncompagni’s delicate Proserpina.”
[Luca Segalla, www.rivistamusica.com, August 2017]
“No wonder if the god of Hades at the time kidnapped Proserpina and made her his bride, if she charmed him with the candour and the energy of soprano Francesca Boncompagni.”
[Heidemarie Klabacher, Derstandard.at, July 2017]
“[…] in [Monteverdi’s] “L’Orfeo”, the entrance of soprano Francesca Boncompagni as Proserpina is an actual balm: she does nothing peculiar, but only opening her mouth she makes us listen what the musical context was missing till then, thanks to her natural expressivity and her Mediterranean freshness.”
[Francesco Lore, L’Ape musicale, June 2017]
“The vocal cast was even moving in some cases, […] like in Francesca Boncompagni’s well-managed and lively freshness.”
[Cesare Galla, Vvox, June 2017]
“Francesca Boncompagni’s Proserpina was magnificent.”
[Luis Gago, El Pais, June 2017]
“[…] Francesca Boncompagni’s Proserpina was soulful and dignified, the strenght of her pure voice finally put to good use after two operas confined to the ensemble.”
[Charlotte Perkins, Bristol 24/7, May 2017]
“I expect more recordings [of Boccherini’s Stabat Mater] will follow. They will have to be very good, at least vocally, to surpass the work of soprano Francesca Boncompagni. Her singing is exquisite: sweet-toned, perfectly in tune, and expressively nuanced.”
[David Hurwitz, Classics Today, March 2017]
“Ms. Boncompagni negotiates beautifully the fine line between vocal precision and mere elegance. […] There is beauty and profundity in Ms. Boncompagni’s singing, although she never loses sight of Boccherini’s delicately engaging idiom. […] Having thoroughly enjoyed the wonderfully expressive playing and singing here, I am also grateful to the performers for reminding me that there is more to Boccherini’s music than a superficial elegance.”
[D. James Ross, Early Music Review, February 2017]
“[…] Thanks to the velvet voice of soprano Francesca Boncompagni, soft pastel tones emerged that Galuppi’s Antifons gave a new, delicate depht. The lightness and grace of the melodies combined with the softness of Boncompagni’s pleasant timbre and not to mention the acoustics of the crowded Geerkerk, gave a particularly spatial effect. The songs dedicated to Maria rose effortlessly, unexplicably beautiful and crystal clear. At the second Antifon, the voice of the soprano won even more power and colour. Jubilant and radiant, flexible in height and even in depht, the voice of the Italian singer perfectly suited Galuppi’s loftly motets.”
[Olga de Kort, Olga de Kort Website – Blogsite, September 2016]
“Soprano Francesca Boncompagni excels, with intelligent singing producing a lovely purity and fluidity to her voice whilst communicating a sense of consolation and appropriate reverence. I especially admire Boncompagni’s excellent breath control in the long melodic lines of the ‘Tui Nati vulnerati’, the inspirational character of the ‘Fac me plagis vulnerari’ and such captivating innocence and piety of the final section ‘Quando corpus morietur’.”
[Michael Cookson, MusicWeb International, September 2016]
“The instrumental component becomes a sumptuous surrounding environment and a precious sound box for the vocal part, of which Francesca Boncompagni returns the emotional intensity and the emotional outpouring in a way that seems ideal for the expressive and poetic figure of Boccherini: with involved inspiration and, at the same time, a clear trait and a manner – aristocratic, one might say – that result touching without allowing anything to sentimental smudges or easy effects. In this context, every gesture – a voice set, a turn of phrase, the game of accents – seems to correspond to a specific necessity. ”
[Cesare Fertonani, Amadeus, August 2016]
“[In Francesco Provenzale’s Cantata ‘Squarciato appena havea’] soprano Francesca Boncompagni performed the role of the royal widow prostrated with grief, alternating on the contrary moments of cheeky capricious perfidy. She also shined in the others Cantatas and Songs, shaping with the same lightness and the same timbre typic of a coloratura soprano both the high and the low notes, painting with dark colours the charming love tears in Pietro Paolo Cappellini’s Tarantella, devoting a perfect enthusiasm in Andrea Falconieri’s Song ‘Vezzosette e care pupillette’, who is dedicated to the eyes of the beloved woman, and languishing sighs in the flowing [Falconieri’s] Song ‘O ben sparsi sospiri’.”
[Hans Jürgen Kugler, Badische Zeitung, August 2016]
“Francesca Boncompagni displyed a liquid crystal tone, singing with simplicity and nobility as Proserpina.”
[Eric Simpson, New York Classical Review, 2015]
“Francesca Boncompagni was superbe as Proserpina, the arioso of gratitude she delivers when Pluto yields to her intercession was crystalline and immensely beautiful.”
[Claire Seymour, BBC Promenade Concerts 2015]
“Last but not least we will talk about Francesca Boncompagni, soprano with a very distinguished scenic presence and celestial and seducing voice, fresh and agile, in the marvellous “Lamento della Ninfa”. She was able to gift us of the essence of Monteverdi’s pathos about the pain of love with bewitching intensity and profoundity.”
[Cesare Galla, Giornale di Vicenza, 2014]