She had the audience laughing when she told her lover, the artist Cavaradossi, to change the color of a saint's eyes. She melted hearts with "Vissi d'arte" but stirred a muted horror only moments later with her muttered "Die! Damn you, die! Die!" She earned a long standing ovation at the final curtain call. Sometimes you leave a "Tosca" performance feeling it should have been named "Cavaradossi" or "Scarpia." Those roles were well filled in this production, but it was unquestionably a "Tosca."
-Washington Post, Joseph Mclellan
Bravo is the fourth Norma I have heard onstage, and in the end, she bested all of them. For command of phrasing and pitch, she easily surpassed Christine Goerke (Seattle Opera, February 2003); she offered more sheer vocal excitement than Hasmik Papian (Washington National Opera, October 2003); and for dramatic involvement, she proved much more satisfying than Jane Eaglen (Opera Orchestra of New York, December 1995 and the Met, October 2001). Bravo’s top never failed in its power, and dropped easily into chest.. ... It was a solid achievement. If the role fatigued Bravo, she didn’t show it; one had the feeling, that by the end of Act IV she could have started again from the beginning with no difficulty.
-Brian Kellow, Opera News
"...Soaring above everyone else was the Elisabetta of Fabiana Bravo, a true Verdi soprano with technique and taste. Her last-act aria was splendid."
-Jim Becker , Opera Magazine
Argentinean soprano Fabiana Bravo is that rare breed – a true spinto soprano with a dark-hued powerful instrument, strong sense of drama, and glamorous stage presence. Since winning the 5th Luciano Pavarotti Voice Competition in 1996, Bravo has made a name for herself in the Verdi and verismo repertoires. A generous artist on stage, her performances are noted for their intensity and all-out vocalism. This CD, recorded in St. Petersburg, Russia, in 2006, gives the listener a good idea of her art. The disc is a generous 72 minutes long, featuring 14 arias from Don Carlo, Simon Boccanegra, Corsaro, Aïda, Forza, Mefistofele, Adriana, Wally, Tosca, Andrea Chenier, Edgar and Suor Angelica. The singing is impressive, particu- larly her blazing top with a genuine high pianissimo, which she uses to great effect in “La vergine degli angeli” and “Senza mamma”. The timbre and weight of her sound are ideal in the Verdi and Puccini heroines featured on the disc. For dramatic effect, Bravo is not afraid to dip into her generous chest voice. Like other big-voiced dramatic sopranos, Bravo is best seen on stage, as this type of voice isn't so easily captured on disc. The close miking exaggerates her breathing, and sometimes one can hear a slow vibrato and an overall unsteadiness. Occasionally, she telegraphs a coming high note by breaking the line to take a breath, as in “Vissi d'arte” and “O patria mia”. The St. Petersburg Radio and TV Orchestra under American conductor Charles Rosekrans does yeoman service – one wishes for more incisive and commanding leadership from the maestro. These quibbles aside, the disc is well worth a listen for those curious about the art of this exciting soprano.