Roxana Constantinescu



Hailed by the international press as a “world-class mezzo-soprano where from her rich lower register, reminiscent of a vintage port wine, to her radiant top her singing is seamless and her acting, too, is remarkably accomplished” (Star Tribune), Roxana Constantinescu is renowned for the complexity of her musicianship, her ability to approach differing styles with the same beauty, commitment and honesty.

Recently she concluded with great acclaim a european concert tour alongside Balthasar Neumann Chor and Ensemble, under the baton of Thomas Hengelbrock. Roxana performed in Konzerthaus Wien, Luxembourg Philharmonie, Laeiszhalle Hamburg and the Essen Philharmonie-to name some of the venues. She debuted in Verdi’s Requiem at the Auditorium di Milano and returned to work with Masaaki Suzuki and the Seattle Symphony. In the opera field her last performances were at the Opera de Montpellier in Britten’s Midsummer Night’s Dream-the role of Hermia, preceded by successful appearances at the Opera de Oviedo and Teatro Lirico di Cagliari in the title role of Carmen.

Last season began with Beethoven’s Symphony no. 9 at the George Enescu Festival in Romania, followed by a Gala Concert with Roberto Alagna at the Musikkens Hus Aalborg, and a programme of Mozart and Bach at the Tchaikovsky Concert Hall (Moscow) conducted by Helmuth Rilling. Constantinescu sang Elijah with the Bach Collegium Japan in Leipzig and did a revival of Hasse’s Siroe at Opéra de Lausanne; Handel’s Messiah at the Auditorium in Grafenegg with the Tonkünstler-Orchester Vienna and Matthew Halls; Rossini’s Stabat Mater at Théâtre du Champs-Elysées under James Gaffigan; recording and concert performances of Beethoven’s Missa Solemnis at the Tokyo Opera City Concert Hall with the Bach Collegium Japan and Masaaki Suzuki; appearances with the Internationale Bachakademie Stuttgart and Hans-Christoph Rademann at the Walt Disney Hall, Princeton and Fort Lauderdale and a return to Moscow under the baton of Helmuth Rilling. Roxana has made debuts at the Konzerthaus Berlin with Bach’s St. John Passion and at the Verbier Festival in Verdi’s Falstaff, and house debuts at Ópera de Oviedo as Cherubino in Le Nozze di Figaro, and the National Center of Performing Arts Beijing as Rosina in Il Barbiere di Siviglia. She appeared in Hasse’s Siroe in concert performances at the Tchaikovsky Concert Hall, Moscow, Concertgebouw, Amsterdam and the Krakow Congress Center, and has returned to Teatro La Fenice as Adalgisa in Norma and to the L.A. Philharmonic for a programme of Mozart and Arvo Pärt, conducted by Gustavo Dudamel.

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“Making her American stage debut, Romanian mezzo-soprano Roxana Constantinescu is unforgettable in the lead role of Angelina. Gifted with a luxurious timbre, Constantinescu mesmerizes with evocative force. Embodying the resplendence of her role, Constantinescu radiates the ethereal benevolence at the core of Rossini’s work. So enticing is Constantinescu’s voice that her spotlight moment, the emotionally charged Nacqui all’affanno … Non piu mesta, proves absolutely entrancing. “

Brad Richason

Examiner Minneapolis

“About Roxana Constantinescu’s Angelina there can be no difference of opinion. This fetching Romanian, who makes her American stage debut with these performances, is a world-class coloratura mezzo-soprano. From her rich lower register, reminiscent of a vintage port wine, to her radiant top, her singing is seamless. Her acting, too, is remarkably accomplished; she can telegraph shades of vulnerability, determination and confusion in the blink of an eye. It takes no clairvoyance to foresee a brilliant career for her.”

Larry Fuchsberg

Star Tribune

More Reviews

“Despina is played by the best thing about this superlative production, Roxana Constantinescu. The Romanian mezzo-soprano portrays the lusty, saucy servant girl with great zest and comic panache. An operatic kleptomaniac, Constantinescu – who actually has a triple role — steals every single scene she’s in, and rarely has the Dorothy Chandler’s stage been graced by a more gleeful, effervescent presence. Constantinescu is perhaps the best export from Romania since Nadia Comăneci, and may become to opera what Nadia was to the Olympics. But if it’s the last thing you do in your life, for sheer hilarity, don’t miss coquettish Constantinescu’s delightful Despina in Cosi Fan Tutte, Mozart’s merry, madcamp realm of the senses and songs.”

Ed Rampell, Hollywoodprogressive

“Constantinescu, a Romanian mezzo, is undertaking a major career move here, her other recent engagements being concentrated around Mozart and Rossini. In spite of the restrictions placed upon her in Wilson’s production, she stole the show because she engages with her character’s painful innocence and she connects with her text. Every consonant is propelled by intentionality. And she is striking in an orange dress (costumes by Moidele Bickel) to foil the deep blue one worn by Norma.”

Adam Moscoe, Parterre

“Roxana Constantinescu est une frémissante Adalgisa, au timbre velouté, agile du grave à l’aigu, soucieuse des nuances, usant de piani alanguis pour exprimer le trouble ou le doute de son personnage. “

Yannick Boussaert, Forum Opera

“L’unica veramente credibile e intensa scenicamente era l’Adalgisa di Roxana Constantinescu, in una bellissima acconciatura afro e fasciata in un originale costume. Una sorpresa l’Adalgisa di Roxana Constantinescu che […] è riuscita e rendere tutti i colori degli stati d’animo della giovane innamorata ma fedele al suo giuramento di sacerdotessa e a Norma, giungendo a commuovere in profondità.”

Gianfranco Previtali Rosti, ItaliaPost

” La mezzo Roxana Constantinescu (Emira) brûle les planches et darde ses accents furibonds sur son amant et les ennemis de son père.”

David Verdier, ResMusica

“On découvre en Emira une fort intéressante mezzo roumaine, Roxana Constantinescu, entendue en Dorabella à Toulouse en 2011 : son aisance scénique et vocale font d’elle l’un des protagonistes essentiels, et l’on a hâte de la retrouver dans d’autres incarnations (elle sera notamment Adalgisa à Zurich en janvier).”

Laurent Bury, ForumOpera

“Siroe se distingue par la victoire du chant sur la musique. Heureuse surprise : Le plateau est remarquable… La mezzo Roxana Constantinescu (Emira) brûle les planches et darde ses accents furibonds sur son amant et les ennemis de son père.”

David Verdier, ResMusica

“La mezzo Roxana Constantinescu est une Emira passionnante, à la technique encore plus solide que celle de sa rivale (la voix ne « déraille » jamais dans l’aigu).”

Jean-François Lattarico, Diapason