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SIMON BOCCANEGRA Teatro Alla Scala June 2016

“Carmen Giannattasio Amelia fascinosa..”

Corriere della Sera

“Drammatica Amelia Boccanegra di Carmen Giannattasio..”

IL Giornale

“Maria e’ una dolente Carmen Giannattasio, capace di toccare le corde più’ intime”

L’AVVENIRE

“Carmen Giannattasio e’ un’Amelia fresca e avvenente dal viso di bambola e la voce lirica si piega alle sfumature espressive previste dal ruolo”.

Teatro.it

“più convincente e vocalmente meglio rifinita rispetto a quanto fatto nella sua già positiva partecipazione di due anni fa”

OPERACLICK

“Carmen Giannattasio è un’ Amelia dal fraseggio aristocratico, amorevolmente appassionata e con una linea di canto ricca di suoni tondi, pieni e raggianti in ogni registro.”

GBOPERA

Carmen Giannattasio ha cantato nei panni di Amelia (Maria), incantandoci per il timbro soave e squillante. Espressiva e di buona recitazione, a suo agio nel ruolo della giovane donna in balia degli eventi e degli uomini, cui tenta con tenacia di dare una direzione di pace e di amore. Convincente in tutti i duetti, nei quali ha fornito ottima prova di sé.

Fermata Spettacolo

“Carmen Giannattasio è un’Amelia sofisticata. Dotato di una buona sicurezza tecnica ed espressiva, il soprano dà sfoggio di un’emissione sana e luminosa caratterizzata da preziosi filati, una generosa risonanza e una buona omogeneità timbrica . La postura e il fare aristocratico conferiscono credibilità al ruolo.”

APE MUSICALE

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I PAGLIACCI Royal Opera House December 2015

Carmen Giannattasio’s ravishing singing as Nedda literally charms the birds off the trees

The Independent Michael Church

“Raw talent: Carmen Giannattasio’s Nedda is ‘musically compelling’ in Pagliacci”

Sunday Times Hugh Canning

Carmen Giannattasio’s magnificent femme-fatale..

The Times Richard Morrison

“Carmen Giannattasio’s Nedda, sings with flair and brilliance”

Financial Time Richard Fairman

“Carmen Giannattasio’s Nedda, passionate, nervous, frustrated, was one of the most moving accounts I have heard of this tricky role.”

The Spectator Michael Tanner

“Carmen Giannattasio was a gorgeous Nedda, reflective but feisty, with bags of charm: her warm, lyric soprano was perfect for the role, displaying a wide palette of colours, and her softer singing was a welcome respite from the maelstrom.”

Opera Now Francis Muzzu

“Carmen Giannattassio’s Nedda, her first go at the role, was also rewarding, a woman both tough and yet potentially vulnerable.”

Opera Magazine Russ McDonald

                               “Italian soprano Carmen Giannattasio’s Nedda […] had fiery style and panache

The Observer

Carmen Giannattasio was a febrile, edgy Nedda with thrilling high notes and a perfectly judged sense of line

Music OHM Keith Mcdonnell

“This Nedda is a modern, fully emancipated buy essay woman thanks to the extremely attractive Carmen Giannattasio. She’s full of sexual energy..Giannattasio gives a tremendous emotionally dense interpretation with a clear and skilled Belcanto in which every nuance of words is intensely tangible in vocal saturation.”

Concerti Magazine

Carmen Giannattasio was superb as Nedda: the beauty of her voice was tinged with a slight steeliness, capturing Nedda’s allure and capriciousness.

             Opera Today Claire Seymour

There’s a steely glint in Carmen Giannattasio’s upper register – and considerable power – which made her Nedda especially feisty, but she was also capable of goofing around nicely in her “Columbina” stage persona… and who else could scene-steal so outrageously in Cav?

Bachtrack Mark Pullinger

Carmen Giannattasio as Nedda, her lyrical yet sturdy instrument is an ideal fit for this repertoire and her complex physical performance is terrifically accomplished.

Whatsonstage  Mark Valencia

Carmen Giannattasio, who sings and acts with real subtlety as Nedda..

The Stage George Hall

La Giannattasio Nedda, un irresistibile sorriso e presenza, in simbiosi con l’elemento sessuale – colori timbrici, quando sale, di velluto.

Giornale della Musica  Salvatore Morra

..awesomely beautiful legato singing: dramatic, mellifluous, yet precise. A talented actress to boot, Giannattasio represents the very finest of Italianate singing today..

Interlude   Philip Eiseinbeiss

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MARIA STUARDA Theatre des Champs Elysees Paris 2015

“Carmen Giannattasio dotée d’un medium solide, d’un large ambitus et d’un bagage belcantiste..’énergie, la ligne accidentée, les écarts assumés sans rupture de registre, les couleurs crues et les cadences héroïques..

Forum Opera

“La soprano Carmen Giannattasio livre une Elisabeth très dure et autoritaire, semblable à une mante religieuse avec le Comte qu’elle désire à défaut de l’aimer. Dotée d’un sens scénique hors pair, et d’une excellente maitrise des aigus tant dans les nuances que dans la puissance vocale”

BachTrack

“Carmen Giannattasio affronte crânement les aigus meurtriers dont Donizetti a parsemé le rôle d’Elizabeth : elle en triomphe avec panache, à une exception près. Mais elle fait plus : elle EST la reine, d’un bout à l’autre, altière, autoritaire, violente, hautaine, ligne de chant tenue, souffle impressionnant, évitant sans peine le danger principal du rôle, virer à la harpie”

Culture Box

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NORMA NCPA Beijing 2015

“top cast led by one of the most exciting sopranos of the moment in her role debut of the challenging Bellini heroine. Carmen Giannattasio possesses the precious combination of a rich, treacle-like middle register combined with assured top notes, enthusiastically delivering the rarest E-flat at the end of the second act duet “In mia man’ alfin tu sei”. And in spite of the vocal heft, she maintains the necessary agility for the demanding embellishments, rapid-fire scales and subtle diminuendos that are the hallmark of the bel canto composers.”

INTERLUDE Kong Kong

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IL VIAGGIO A REIMS, De Nederlandse Opera Amsterdam 2015

                                    Carmen Giannattasio, rich-toned and stylish in “Di vaghi raggi adorno”

Nicolas Nguyen Backtrack

 Carmen Giannattasio è una Madama Cortese d’insolita caratura, cantata benissimo e fa un piccolo  capolavoro della per nulla facile Di vaghi raggi adorno.

                                                                                 Edoardo Saccenti Operaclick

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SIMON BOCCANEGRA, Teatro Alla Scala Milano 2014

   Carmen Giannattasio è un’Amelia di rango e un soprano in ammirevole ascesa: la generosa risonanza, il    florido smalto vocale e la prontezza a sfumare dimostrano tutt’insieme la salute dei mezzi, la tecnica solida  e l’attenzione interpretativa..

Francesco Lora Ape Musicale

          Carmen Giannattasio è stata la vera sorpresa della serata.  

La voce è molto bella e, cosa non da poco, risuona magnificamente in teatro per la ricchezza del suo timbro e per le sfumature dei suoi colori..ha cantato la difficile aria d’ingresso all’inizio del primo atto, “Come in quest’ora bruna”, non solo con disinvoltura ma con convinzione e con la volontà di porgere al meglio una musica di rara intensità e bellezza

GBOPERA

                                    Carmen Giannattasio had the right purity of voice to portray the good as gold Amelia..

James Imam Backtrack

Entusiasmante la Maria/Amelia di Carmen Giannattasio, che si conferma una splendida artista. Deliziosa la sua avvenenza, accentuata dall’aura preraffaellita dei costumi. La voce è bella e corposa: notevole nel registro acuto..

                                                                                Elena Percivaldi Classica online

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MARIA STUARDA, Royal Opera House London 2014

Con supremo histrionismo interpreta una Elisabetta que también la consagra como una gran cantante por su color radiante, la enfática y recóndita sensibilidad de su fraseo y la solidez de su apoyo vocal

Agustin Blanco Bazán Mundo clásico

Her brilliant foil as Elizabeth..showed dazzling technique and spirit

                                                                                         Fiona Maddocks   The Observer

..it is difficult to imagine any better suited to the role of the two queens than Carmen Giannattasio (Elizabeth) and Joyce DiDonato (Mary)..from the very start, Giannattasio took control of the music and the stage in truly imperious fashion..

         William Hartston Sunday Express

..her Elizabeth I bristles with cutting tone and a scalding use of the Italian text..

        Richard Fairman Financial Times

In purely vocal terms, Carmen Giannattasio’s spitfire Elizabeth arguably offers more sheer voice,

       George Hall   The Guardian

Elisabetta’s writing is all virtuosic tantrums and musical pique – beautiful, certainly, but also brittle. Giannattasio carries it off with aplomb

    Alexandra Coghlan The Arts Desk

..Joyce DiDonato and rising star Carmen Giannattasio, triumph admirably. The light but powerful Italian soprano proves her vocal and dramatic mettle as Elizabeth I..

        Graham Rogers  The stage

 Carmen Giannattasio mines a stridency and acidity in her voice to grand effect as Elizabeth and sings with impressive bravado

       Rupert Christiansen  The Telegraph

Carmen Giannattasio attacks her assignment with relish, her powerful voice full of menace..

         Hugo Shirley  The Spectator

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         FALSTAFF, LAO Opera Los Angeles 2013   

“Fine singing actress Carmen Giannattasio of considerable vocal power, manipulated for memorable dramatic affect..”

Bachtrack

“Giannattasio provided an aptly composed Alice Ford  singing regally.”

The orange county register

“Carmen Giannattasio musically charming..”

Huffington Post

“The merry wives..sung by a knowing and exceptionally well-controlled Carmen Giannattasio as Alice”

OPERA NEWS

“The Italian soprano, Giannattasio, had a lovely clarity to her voice that in turn thrilled, seduced, and charmed..she proved to be the ideal Alice”

The Opera critic

Otello, Teatro Colon Buenos Aires 2013

“Carmen Giannattasio se llevó los mayores aplausos de la noche. Sobria, segura y muy musical, cerró su trabajo ofreciendo “La canción del sauce” con una voz cristalina, afinadísima y conmovedora.”

Pablo Kohan La Nacion

SORPRENDENTE CARMEN GIANNATTASIO:

la revelación de la noche fue la excelente soprano en el rol de Desdémona, con una voz poderosa que corrió por toda la sala. Trabajó su personaje con fino lirismo y sus sonidos pianos fueron de particular belleza. Segura y musical, se ganó el aplauso más intenso de la noche.

Martin Leopoldo Diaz   Diario de Cultura

 Carmen Giannattasio joven soprano italiana..deslumbró como Desdemona con su voz cristalina, su perfecta afinación y su segura musicalidad.

Gustavo Gabriel Otero    Mundo Clasico

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La Traviata, Real Teatro di San Carlo Naples 2012

“Carmen Giannattasio sings with such a melting tone, such a compelling build up of tension”..

Shirley Apthorp   Financial Times

“Giannattasio Super Star.. la vera diva della grande soirée nel segno di Verdi..”

           Donatella Longobardi  IL Mattino

“L’interminabile applauso che invade la platea, palchi e loggione sembra realmente interminabile e segna di consensi la grande interpretazione vocale e recitativa di Carmen Giannattasio, soprano di grande qualita’ e struggente Violetta..”

Giuliana Gargiulo  ROMA

..”La bravura vocale di Carmen Giannattasio dal timbro curato e le fattezze di bambina procace.. “

Carla Moreni Il Sole 24 ore

..Per Colpa di Carmen Giannattasio ci siamo innamorati di Violetta. Tale e’ stata la forza con cui si e’ calata nella parte, la credibilita’ degli accenti, l’intelligenza teatrale, l’acuminatezza della lama della sua voce..” Sandro Compagnone   L’OPERA

“Aggressiva e Carnale Carmen Giannattasio..”  Carlo Vitali   Classic Voice

“Carmen Giannattasio proved to be a clever singer, equipped with a beautiful, energetic voice and good stage presence”..   Opera UK   Enrico Tellini

“si è trattato di una delle più toccanti edizioni del capolavoro cui abbia assistito in vita mia..Ella ha buona dizione, bella voce, grande tecnica; ha, come scrissi giorni fa di Jonas Kauffman, dei piano«sul fiato» e delle «messe di voce» da brividi; il suo Dite alla giovine fa bruciare gli occhi. Il modello al quale secondo me ella sembra ispirarsi è quello di una delle Più Grandi Dame dell’Arte Lirica, Magda Olivero.”

Paolo Isotta  Il Corriere della Sera 

“Una Diva tra Lirica e Cinema..Il Soprano delle due Sicilie che incanta i Teatri del mondo..” 

Ilaria Urbani  La Repubblica

“Blessed with a larger then life star quality that reminds me of young Charlotte Rampling..she can flip from vibrant light coloratura to dark smouldering mezzo tones with an elegant, clean technique and powerfully intense phrasing..”

Cortney Smith  OPERA NOW

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La Boheme, Royal Opera House, Covent Garden 2012

“Carmen Giannattasio, looks the part, and sang most affectingly throughout”

– David Mellor, Mail on Sunday

 “Carmen Giannattasio is an affecting Mimì, capturing well her vulnerability and decency, the voice clear, the phrasing shapely. Her Royal Opera debut is a distinguished one”

– Colin Anderson, The Opera Critic

 “she looked perfect, her tiny frame shaken by big notes of big conviction and phrasing in the heart-rending third act that truly prepared us dramatically for a genuinely touching death-bed scene

– Edward Seckerson, The Independent

  “Carmen Giannattasio, and what a debut! Her assumption of the part was captivating and beautiful, full of the timid, in-love and vulnerable qualities required. And her voice was crystal-clear, soaring with full voice and projecting the quietest pianissimos with exquisite clarity” 

– Kevin Rogers, Classical Source

 “As Mimi, Carmen Giannattasio was every bit the wilting flower: she carried the performance in a rather large way and is well on her way to becoming a true interpreter of Puccini. Her legato carries her large voice very well, she takes her time when necessary and really commits

– Michael Migliore Musical Criticism

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Il Trovatore, Theatre du Capitole Toulouse, Jan 2012

“Carmen Giannattasio est une créature sublime. Elle ressemble à s’y méprendre à une déesse de l’Olympe. Elle est très belle et possède une maitrise de son organe vocal qui nous laisse pantois. Les notes sont fluides et passent de l’aigu, très aigu, au grave avec une facilité déconcertante. Elles ont été acclamées par le public, elles le valent bien” – Cyriel Tardivel, La Theatrotheque

“Verdi exige des voix virtuoses, flexibles, capables de varier les nuances et les couleurs. Des qualités que la jeune et sensible soprano Carmen Giannattasio possède déjà”

– Anne-Marie Chouchan, La Depeche

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La Bohème, Deutsche Oper Berlin, Dec 2011

„Ihr klarer, facettenreicher Sopran besitzt Schönheit und Seele, hat auch im Forte keine Schärfe… Die Königin dieses großartigen Abends.”­­­
– Ursula Wiegand, Der Neue Merker

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Il pirata, Norfolk and Norwich Festival


“…her powerful but warm voice flashed with emotion in vocal thrills I have rarely heard.”

– Mike Drake, The Advertiser

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Ermione, Opera Rara Recording

“Giannattasio gives specific color and weight to each moment, registering vulnerability, disbelief, pain and eventual madness most effectively… a dark, intriguing voice and expressive performance”

– Judith Malafronte, Opera News

“Giannattasio is the mistress of every phrase.” – Richard Osborne, Gramophone

“The role fits her like a glove.” – Robert J Farr, MusicWeb

“A performance of temperament and style… she combines the thrilling range of a Sutherland and the dramatic intelligence of a classical ‘tragédienne’.”

-Andrew Clark, Financial Times

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Ermione, Royal Festival Hall, 2009

“Magnani-like passion… She is the most talented of the younger Italian sopranos.”

Rupert Christiansen, The Telegraph

“Her closing scene made the hair tingle on the back of one’s neck.”

Richard Fairman, Financial Times

“[A] technique to negotiate Rossini’s fiendish flourishes, but oodles of emotion as well.”

– Bayan Northcott, Independent
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 Requiem, Philharmonia San Pietroburgo, March 2009

“Carmen Giannattasio has a rich soprano voice and shows a clear understanding of her part’s expressive range.” – BBC Music Magazine

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Parisina, Royal Festival Hall London. December 2008


“It’s impossible not to be swept along by her passion.”

– Rupert Christiansen, The Telegraph

“Her last gasp one of the most electrifying in all opera… Giannattasio lived through every dramatic reaction and response within her resinous, eloquently inflected bel canto singing.”

– Hilary Finch, The Times

“Carmen Giannattasio’ s… vocal attack is magnificent, as are the trills and runs and drops through the registers.” – BBC Music Magazine

“Her ingenious Romanza in Act 2, and her fatalistic “Forse un destin che intendere” are agile in decoration, expressive and well acted.”  Gramophone Magazine

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Il Corsaro (Gulnara), Opernhaus Zurich, November 2009


“Vigorous attacks, thrusting energy and excitingly ringing climaxes.”

Horst Koegler, Operanews

“well-controlled introspective phrases and moments of hushed, haunting piannissimi. I hope to encounter her again.” – James Sohre, Opera Today


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La Traviata (Violetta), Scottish Opera, November 2008

“a deeply intelligent and profoundly affecting interpretation”

-Rupert Christiansen, Daily Telegraph

“Carmen Giannattasio – surely destined to be one of the great divas of her generation.” 

– Alan Morrison, Sunday Herald

“Carmen Giannattasio has the ingredients to make a first-rate Violetta… A real understanding of Verdi style.” – Hugh Canning, Sunday Times

“A splendid actress. – Anna Picard, Independent on Sunday


“Giannattasio inhabits the part with a flinty defiance while communicating her ultimate despair with touching rawness.” – Lynne Walker, The Independent

“a far more moving Violetta than Anna Netrebko, the Violetta du jour.”

– Andrew Clark, Financial Times

“Carmen Giannattasio brings a voice of dark-hued power and fluidity to Violetta.”

– Rowena Smith, The Guardian

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La Donna Del Lago (Elena), Garsington Festival, June 2007

“Spectacularly well sung.” – Geoff Brown, The Times

“Coloratura flights with graceful assurance” – Michael Church, The Independent

“Her solo scenes reveal an intelligent actress, who knows how to hold the stage and toy with the audience’s feelings. Her soprano is no canary: it is full-bodied and attractively coloured, with a chest register as impressive as her ringing top. Rossini needs artists like Giannattasio.”

– Andrew Clark, Financial Times

“Carmen Giannattasio offers grace and charm in her shaping of Elena’s lines.”
– George Hall, The Stage

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La Donna Del Lago (Elena), Usher Hall, Edinburgh, 2006


                    “Behold, a prima donna is born… her voice has body and colour from top to bottom.”

        Andrew Clark, Financial Times

                                             “sung effectively and intelligently, without glitter or frivolity”

– Judith Malafronte, Opera News

“a creamy tone allied to the capacity for subtle characterisation. Add to this good diction and flexible coloratura technique and the role of Elena seems ideally suited to her… I need hardly say that Carmen Giannattasio’s singing of this well-known piece is of the highest standard.”
– Robert J Farr, Music Web

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Maometto II (Anna), Teatro La Fenice, Venice, 2005

“A lyric soprano voice of beauty, clarity and a wide palette of colour.”
Robert J Farr, Music Web

“The star of Maometto Secondo… is Carmen Giannattasio: her Anna is a showstopper”
Andrew Clark, Financial Times

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                                                                      Simon Boccanegra, Teatro Comunale Bologna

“A Renaissance painting comes to life. Her stage presence is innately sympathetic, her timbre colorful and immediately appealing” – Roger Pines, Operanews

 

 

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