New York Times;
“…Roxanne Conti (affectingly sung by the soprano Raquel Suarez-Groen), who can’t help thinking that her fading beauty is the explanation for her husband’s coolness and infidelities.”
“…Perez and Alicea have chemistry, making their scenes together fun. Scott nicely calibrates his character’s desires; Suarez-Groen is a standout. Grimsley delivers adolescent angst well; the menacing smugglers hit the mark. Indeed, the entire cast, along with director Melissa Crespo, is first-rate”
“The multi-ethnic cast of fourteen are standout singers, with countless opera credits between them. They bring passion and depth to the lyrics, whether they’re singing about politics, infidelity, hip hop, vengeance or forgiveness. Among the gifted performers, Pérez and Alicea are lovely and adroitly move between fast-paced lyrics, comedy, and distress. Suarez-Groen is poignant and witty in her portrayal of the mistreated, Botoxed wife wondering what happened to the husband she knew twenty years before. Scott has the most difficult role as the bad guy who is at turns charming, wounded, and vindictive, which he does without making Conti completely unlikable or a buffoon. There’s also comic relief from Basel the opportunistic tutor and Atzuko (David Castillo), who memorably plays the gardener with pitch-perfect stoner hilarity.
“…Marvelously singing an aria extolling cosmetic procedures is a highpoint of Raquel Suarez-Groen’s hyper-screwball comedy performance as Roxanne.”
“..Afraid that Figaro will find out, and do something crazy out of jealousy, she concocts a plan with Conti’s neglected wife Roxanne (Raquel Suarez-Groen in a scene-stealing joy of a performance) that will help them both achieve what they want.
“…For the rest of the cast: Luke Scott portrays a fabulous Almaviva, Raquel Suarez-Groen is a perfect Countess…”
Broadwayworld.com – Placido Domingo’s visit:
“Soprano Raquel Suarez Groen lent Marzelline measures of humor and humanity that made her part in the opera more vital that many singers have made it. Beginning with the charming duet with Jaquino that opens Act One, she took advantage of every opportunity for detailed characterization that Beethoven gave to her. She sang ‘Es wird ja nichts Wichtiges sein’ delightfully, the repeated top Gs and coloratura cresting on top A employed to impart Marzelline’s growing frustration with Jaquino’s refusal to accept that she is in love with Fidelio. Suarez Groen sang Marzelline’s Mozartean aria ‘O wär’ ich schon mit dir vereint, und dürfte Mann dich nennen!’ deftly, and, unlike many Marzellines, she ensured that her presence was noticed in the quartet by phrasing ‘Mir ist so wunderbar, es engt das Herz mir ein’ imaginatively and dexterously negotiating the coloratura. Joining Leonore and Rocco in their fantastic trio, she declaimed ‘Dein gutes Herz wird manchen Schmerz in diesen Grüften leiden’ beautifully and ascended to the top C with spot-on intonation. Suarez Groen’s reaction to learning Fidelio’s true identity in the opera’s finale provided a precious moment of levity.” – Voix Des Arts Magazine
“Raquel Suarez Groen and Galeano Salas thrilled us with “O Soave Fanciulla” from Puccini’s “La Boheme,” he of an ardent and sweet tenor, she of a poignant soaring soprano. They completed their new “merger” by walking out of the room arm in arm and hitting a high C.” – Brooklyn Daily Eagle