Soprano Christina Pecce managed to sing beautifully while maintaining incredible comic effect in her role as a flustered prosecutor. Then she turned around to sing chilling yet wantonly tender lines as the ghost mother who never quite gave up her addiction to her son’s sicknesses (Munchausen syndrome by proxy).
Christina Pecce, in that role, gave perhaps the most polished and engaged performance of the evening.
Christina Pecce brought a warm, rich sound as Anne, imbuing the character with a strong presence and immense gravitas. She displayed considerable gifts as a singing actress, giving an intelligent, three-dimensional performance informed by emotional specificity, attention to detail and complete command of the text.
Christina Pecce was creepily complex as the Mother.
Soprano Pecce was particularly memorable as the ghost of the bludgeoned mother, creating, both through her amazing vocal flexibility and dramatic portrayal, a character at once repulsive and sympathetic.
With a cast of only five, the story was very easy to follow and brilliantly cast. Christina Pecce played the star role of Concepcion. [...] Pecce was able to achieve astounding vocal expressivity both in a dramatic and comedic sense. Her full voice soared and blended beautifully with those of her colleagues.
As a chamber piece, the vocals are quite evenly spread among the cast throughout the opera, but Christina Pecce showed particular facility within Susa’s varying idioms. Her jazz spotlight that opened ‘Godfather Death’ was refreshing and suave and her warm tone carried even the most cumbersome vocal intervals with impressive phrasing. Pecce’s character portrayals, whether the savage, vain queen of ‘Snow White’, or the possessive, but ardent Mother Gothel, were distinctive and well developed.
[...]vocally she was the star of the show. Her acrobatic gifts were almost as great, as the choreographer really put her through her paces.