Il trovatore
Richard Covello, Chicago Tribune

‘Lack of Verdi singers’ is the usual excuse for Trovatore’s rarity… However, with the entrance of soprano Rose Guccione as Leonora, the genuine article of Verdi singers took over. Guccione’s voice was simply magnificent from top to bottom, beautifully nuanced in all dynamic ranges.

Don Carlo
Laura Emerick, Chicago Sun-Times

Soprano Rose Guccione, as a creamy-toned Elisabetta, acquitted herself well, particularly in Act 4’s punishing ‘Tu che le vanita.’

La forza del destino.
Laura Emerick, Chicago Sun-Times

Rose Guccione… blossomed by evening’s end, especially in Act 4’s prayer, ‘Pace, pace, dio mio.’

La Bohème.
Dulce Arroyo, The NEIU Independent.

…the hilariously dysfunctional couple Marcello and Musetta, played by a lively Wellington Da Silva and Rose Guccione, instantly became some of the crowd’s favorites. Da Silva and Guccione kept the audience laughing by providing comic relief with their constant outbursts against each other of fighting and breaking up, and then kissing and making up…

"H.M.S. Pinafore"
M.L. Rantala, Hyde Park Herald.

This production was stuffed with talent. Veteran mezzo Rose Guccione was one of the anchoring singers and a key to this year’s success. Her saucy Little Buttercup had a deep vocal resonance and her stage cavorting had admirable timing which drew many well-earned gales of laughter.

"Guccione rare and memorable."
Sean Schulze, The Mercury & Business Report (South Africa).

That Ms Guccione is one of the best singers to grace a Durban stage in recent years is without question. [The] programme…revealed an artist of the very highest calibre. Trying to find words to describe Ms Guccione’s voice is no easy task. A golden sound coupled to a soaring legato is one thing, but when married to an innate sense of style and deep artistic involvement the effect is quite mesmerising…Underpinning all this was faultless intonation and a clear pronunciation of the Italian, German and English texts. Somehow, Ms Guccione succeeded in casting that spell that characterises a memorable and rare musical event.

"American soprano delights."
Anthea Johnston, Sunday Tribune (South Africa) .

…it takes a real artist to create, as she did, a character or a mood in a few words and a couple of notes. Salome’s aria, from Massenet’s opera, Hérodiade was deliciously sensual, without being arch. Guccione’s rich tone expressed the passion and longing inherent in the score…Mimí’s aria “Mi chiamano Mimí” from Puccini’s La Bohème was simplicity itself. Miss Guccione is obviously a talented actress as well and she certainly has the ability to bring Puccini’s heroines to life. Her versatility was confirmed with Schumann’s song cycle Frauenliebe und Leben. To sing art songs well takes both vocal control, intelligence and acting skills and these Miss Guccione has in abundance…There were more than a few misty eyes when she finished.

St. Charles Art & Music Festival Closes on High Note.
Renee Tomell, Press Newspapers.

A brilliant concert closed the St. Charles Art and Music Festival…The concert of opera favorites was to feature young opera star Margaret Jane Wray…who became indisposed less than 24 hours before the performance…[R]ising to the occasion with no rehearsal with the orchestra was talented soloist Rose Guccione of Chicago…Standing ovations were plentiful…

"Art & Music Festival Garners Ovation."
Roald Haase, Kane County Chronicle.

Rose Guccione, a dramatic soprano… brought the house down. It was really an incredible concert, with multiple curtain calls…even got a standing ovation before the intermission.

"A night to remember."
John Rizzo, Fra Noi.

…The soprano, Rose Guccione, was magnificent. Not only did she turn in an exciting and virtually flawless vocal performance, but she projected a modest and unassuming stage presence that is absolutely charming. With no wasted movements or gestures except those in perfect taste, nothing distracted from the music to which she gave everything. She began with “O mio babbino caro”, an excellent first number as it gently established her range and immediately won her audience. This is not the most technically demanding aria, but is very beautiful and it is so familiar that anything less than perfection here could have added more pressure on delivering her subsequent pieces. But she sang this little gem purely and lyrically and thereby neatly set the stage for the more weighty offerings that followed. Of these, like “Vissi d’arte”, “Mi chiamano Mimi” and Liu’s haunting “Signore, ascolta”, it is hard to pick a favorite because they were all sung with perfect intonation, great feeling and ultra-smooth phrasing.

The stunning quality of Ms. Guccione’s genuine spinto and her vast scope of feeling and tonal shading burst gloriously into perspective with the unleashed passion of “Un bel di,” another very familiar aria that can make an audience a bit squeamish if not sung well. Not only did she sing it well, but she connected so directly with the audience that the listeners were swept into that world of emotional rapture and rhapsodic splendor where well-performed Puccini should always take us. Although modesty, sweetness and the kind of feminine vulnerability that is so essential to the interpretation of so many soprano roles mainly define her onstage persona, Ms. Guccione revealed an appropriate seductive aspect to her character portrayal with a sensual and provocative rendition of the “Habanera.” Not only was her dramatic depth further displayed with this number, but her considerable vocal range was also highlighted. Aside from mentioning her outstanding ensemble work from the opening acts of La traviata and La Bohème and the finale of Faust, there’s little more to say right now except that Rose Guccione is a fine young and polished soprano that is as good as you can expect to hear and a real credit to our community.

"The Cousin from Nowhere"
David Mccann, Windy City Times.

As glutinous relatives Uncle Josse and Auntie Wimpel, James Judd and Rose Guccione are equally superb comedians and incomparable vocalists. Guccione's hilarious scene with a banana is a must-see moment.

"The Flower of Hawaii"
M.L. Rantala, Hyde Park Herald.

The always-hilarious Rose Guccione is a hoot as the gender-bender Perroquet, a waiter of many talents in Monte Carlo.

"The Flower of Hawaii"
Ann Boland, Picture This Post.

...Rose Guccione as Hattie and Perroquet were burlesque comics, buffooning, dancing, and singing their ways through the light plot.

"The Flower of Hawaii"
Reno Lovison, Chicago Theater and Arts.

Rose Guccione, well known to many Chicago opera fans, is alas, vocally underutilized in this production. However, she manages to telegraph her presence as the muumuu clad Hattie and casino-bar manager, Perroquet.

"Ball at the Savoy"
M.L. Rantala, Hyde Park Herald.

Rose Guccione, who is a maid in the two outer acts, turns 180 degrees in the middle act, hilariously decked-out as a man in tie and tails with a magic marker mustache, who can’t find a satisfying dance partner.

"Living Large in a Mini Kind of Way"
Alan Bresloff, Nuevo Impact.

The main character is Lily charmingly played by Rose Guccione.

"Lydia"
Kerstin Brookmann, Chicago Stage Standard.

Rose Guccione as the matriarch who thinks that she knows everything that happens in the family home masks her character’s uncompromising core behind warm good humor and maternal care. Guccione delivers a finely balanced portrayal that captures all the facets of the character.

"Lydia"
Philip Potempa, The Times of Northwest Indiana

Rose Guccione is amazing as a controlling, yet caring mother with a certain edge.

"Feathers"
Lynn Colburn Shapiro, See Chicago Dance.

Ms. Guccione brought humor and warmth to the sympathetic role of Paloma, taking a couple of star turns with her opera-sized voice.