Lincoln Center’s Mostly Mozart
… intense soprano Alex Penda as the vengeful Elettra. — The New York Times, August 19, 2016
… Alex Penda fumed tastefully as bad Elettra. — Financial Times. August 21, 2016
… the explosive mezzo Alex Penda was ideal as Elettra. Following the overture, Ilia opens the opera with a long recitative and the aria “Padre, Germani, addio!”, and Karthäuser projected an ingénue with gravity.
Electra is superficially simpler, but all of Mozart’s characters, especially the women, are a mix of competing and contradictory thoughts and feelings. With Penda, all those feelings were delivered with power and musical substance, and her range went from the fury of “Tutte nel cor vi sento” to the sweetness of “Idol mio.” – New York Classical Review, August 19, 2016
The Idomeneo litmus test is towards the end when the character Elettra goes mad amid romantic rejection. If the scene feels properly unhinged, it’s usually in a musical blur of operatic posturing that’s played mostly for effect. Here, with soprano Alex Penda (previously known as Alexandrina Pendatchanska), the scene was a clear, step-by-step descent into insane rage. — WQXR c/o New York Public Radio, August 19, 2016
The intense soprano Alex Penda sang the hysterical leaps and furious rage with abandon as the spurned Greek princess Elettra. She displayed riveting coloratura in the first act’s “Tutte nel cor vi sento furie del cupo averno” (I can feel you all in my heart, furies of the dark hell) and in her final descent into madness. — bachtrack.com. August 21, 2016