“There is, though, more finesse in the scoring than the “Turandot” finale would lead one to suppose, with some nice viola solos and passages for divided cellos…Such moments were well served in this performance…There was some fine singing, too…Michael Corvino used grave tone and urgent yet supple phrasing to give a convincing charge to Simonson…Michele Fiammardente brought an eager and stylish Italianate tenor sound to the…role of Dimitri. Virginia Dupuy was a firm and glowing mezzo… Allison Charney looked wonderful and produced the right sort of fresh, vulnerable sound…”
—Paul Griffiths, The New York Times, December 6, 2001
“Grattacielo’s performance conducted with know-how by Fiora Contino, was almost without exception very fine. The show-stealing baritone involved was Michael Corvino whose sonorous voice strikingly recalls the late Ettore Bastianini…tenor Michele Fiammardente sang with assurance and passion…soprano Allison Charney was a virtual clone of a young Licia Albanese…Without exception, the large supporting cast was beyond criticism, as was the Cantori New York Chorus…”
—Bill Zakariasen, The Westsider, December 13-19, 2001
“La sorpresa è non poca ad ascoltare opere come Risurrezione di Franco Alfano: si resta colpiti non solo dalla forza espressiva, dalla carica melodica e da quel saper sottolineare quasi alla perfezione stati d’animo e situazioni, ma soprattutto dalla capacità di creare atmosfere anche quando ci si affida ad un’edizione concertante come questa. Ci riferiamo a quanto messo in evidenza l’altra sera al Lincoln Center, all’Alice Tully Hall, da un impeccabile complesso vocale e strumentale qual è quello del Teatro Grattacielo di New York, diretto da Fiora Contino.
—Franco Borelli, America Oggi, December 9, 2001