"Face à elle, sa fille, la tendre Tamiri, trouve en Ruxandra Donose une superbe interprète : la longue voix aux sombres accents nous fait partager les tourments de cette femme rejetée par sa mère et répudiée par son mari."
Forum Opera, 10.01.2012

"Die in Wien bestens bekannte Ruxandra Donose als Königin Tamiri wird neben ihrem umfangreichen klassischen Mezzo-Repertoire auch den Girlanden vivaldischer Virtuosität mit Bravour gerecht."
Der Neue Merker, 10.1.2012

In addition to "Diapason d'Or" the Franace recording was also awarded with "Choc de Classica".

In November 2011 Ruxandra was awarded with "Premiul de excelenta" for representing Romanian art abroad.

In September 2011 the new recording of "Farnace" by Antonio Vivaldi has been released by EMI Virgin classics, in which Ruxandra sings the role of Tamiri.
This recording has been awarded the prestigious "Diapason d'Or".

"...Ruxandra Donose, ein Octavian mit wunderbar schlanker Höhe und feiner Mittellage..."
Süddeutsche Zeitung, 3.6.2011

"...einem so erfahrenen Oktavian wie Ruxandra Donose, die zwar nicht unbedingt als gestandenes Mannsbild daherkommt, den verliebten Burschen aber mit entwaffnendem Charme und farbenreichem Mezzo so souverän gestaltet, dass sie mühelos zum Dreh- und Angelpunkt des Geschehens wird."
Münchner Merkur, 3.6.2011

The Seven Last Words of our Saviour on the Cross

London Philharmonic Orchestra
Conductor: Vladimir Jurowski


For more details and a sound sample see HER MUSIC/RECORDINGS

Romeo and Juliet

Symphonie dramatique

The Philadelphia Orchestra
Conductor: Charles Dutoit


For more details and a sound sample see HER MUSIC/RECORDINGS

Vladimir Jurowski
London Philharmonic Orchestra

JS BACH Cantata 63
FELIX MENDELSSOHN Vom Himmel hoch
RALPH VAUGHAN WILLIAMS The First Nowell

For more details and a sound sample see HER MUSIC/RECORDINGS

The first week of July, shortly after concluding the "Orphée" production in Philadelphia, Ruxandra recorded the role of Tamiri, in Il Farnace by Vivaldi, having as her colleague in the role of Farnace the countertenor Max Emmanuel Cencic. The wonderful "Barrochisti" conducted by Diego Fasolis assured the strongly expressive orchestral support. The CD will be released by EMI/Virgin classics.

"Orphée is sung by Ruxandra Donose, a mezzo soprano who is handsome in
sound and looks. What can I say? She WAS Orphée, she looked the part, she moved with great eloquence and even gracefully joined the dancers. What sets Donose among the top rank of Orphées I've heard is her expressiveness and heart. She knows how to get the most out of her voice, and she can act. She has a gorgeous voice, full, rich and deep, unlike any other singer I've heard in this role live, and like very few on records, her voice encompassed all the notes, from top to bottom. As listeners who have heard recordings of the Berlioz version of Orphée know, the bravura aria that ends Act I, Amour viens, rendre, was made even more ornate for Pauline Viardot, the notes go very low (a bit deeper than the reach of Von Otter, Kozena, and Larmore on the complete recordings -- Powdles does manage those notes). Donose stood front center on the stage and sang the heck out of that fearsome aria, easily accomplishing the challenging cadenza which a young Saint-Saens, assisting Berlioz, wrote with Viardot. The applause was immediate and, unfortunately, cut into the beautiful orchestral music which closes the aria. But when Donose sang "Jai Perdu mon Eurydice" she cast such a spell that the audience sat rapt as the music played out, only bursting into applause when the music stopped. I doubt there were many dry eyes in the theater. Donose is a great Orphée and I fervently hope she gets the recognition she deserves from this milestone in her career."

James Camner on Opera-L, 17.06.2010