After the somewhat turgid overture, a driven, passionate performance, if occasionally lacking finesse, emerges…Kenneth Tarver is the pick of the soloists, with Laura Polverelli and Silvia Dalla Benetta well-matched as Eduardo and Cristina respectively.

The cast is strong throughout. My personal favorite among the performers is Kenneth Tarver as Carlo...he combines a gorgeous vocal quality, ease throughout the registers, pinpoint flexibility, and some real dramatic bite to turn Carlo into a sympathetic, three-dimensional figure. Soprano Silvia Dalla Benetta is also excellent from a technical, musical, and dramatic perspective, and her voice has a compelling focus and bite that serve her well in depictions of Cristina’s plight and anguish.

It’s good to have an experienced Rossinian, Gianluigi Gelmetti, in charge of the musical proceedings, and there are two excellent lead singers: Kenneth Tarver as the Swedish king and mezzo-soprano Laura Polverelli in the travesty role of his unwanted son-in-law. Unfortunately, the eponymous Swedish princess disappoints.

Eduardo e Cristina possesses genuine dramatic momentum…A respectable musical standard is achieved. Silvia Dalla Benetta enters with determination into the character of Cristina, though vocal insecurities and an ungainly style mar her earlier scenes. Kenneth Tarver’s bright tenor proves fluent and focused as Carlo, his performance growing increasingly expressive as the drama moves towards its climax.