Excerpts from Donizetti’s Maria Stuarda and Anna Bolena, and Spontini’s La Vestale, confirm Rebeka’s formidable intensity and interpretative intelligence…In many ways Rebeka recalls Callas in this repertoire – the wine-dark chest voice colorations and fearless emotional commitment in particular. A heady comparison, but justifiable given this anything-but-routine recital.

[The voice is] sturdy and rich across the range and has a formidable top, but also a certain weight that needs to be steered around tight coloratura corners. As before, Rebeka scores big points for the nobility and grandezza of her performances; she’s at her best when called on to convey determination and steely strength.

There are moments when the voice sounds pushed beyond its natural limits. However, much of her vocalism is technically skilled and her lithe and pliant instrument produces some glorious sounds. There’s a nice swing to the rhythm in the prayer from Maria Stuarda, where Rebeka’s gentle, dreamy approach sounds just right.

Her performances are strongly delineated, her phrasing immaculate and instinctively balanced. Rebeka is not afraid to sing out, she doesn’t tiptoe through her coloratura, and she provides some exciting pianissimo, though I would perhaps have liked just a little more dynamic variation.