<<All thrive when sparring with Carmen Giannattasio’s Ermione – a performance of temperament and style, not least in her hair-raising finale, where she combines the thrilling range of a Sutherland and the dramatic intelligence of a classical tragédienne. Her Italianate sensibility is all the more precious in a cast dominated by Anglophone singers.>>

Andrew Clark - Financial Times

<<ante todo Carmen Giannattasio, de características vocales ideales para el rol de Ermione, una verdadera soprano drammatico di agilità con el color, la anchura vocal y el temperamento que le permiten dar la intensidad requerida a todas sus intervenciones, junto a la extensión vocal y el dominio de la coloratura exigidos por el agotador papel>>

Santiago Salaverri - Di Verdi

<<Carmen Giannattasio's Ermione heats up searingly in the magnificent 2 act with a sequence of arias that propel the action relentlessy with its tragic climax>>

Robert Allen - MMMusic

Christopher Cook - Classical Music
LA BOHEME  GIACOMO PUCCINI THEATRE DU CAPITOLE TOULOUSE OTTOBRE 2010

 

 

<<Carmen Giannattasio fut le bon. Dotée d'une palette aussi large que maîtrisée, de la puissance nécessaire pour voler par-dessus l'orchestre, elle campe avec bonheur une Mimi fragile et sensible sans jamais sacrifier le jeu à la présence vocale>>

Jaques Olivier Badia -Le Clou dans la Planche

<<En Mimi, la soprano italienne Carmen Giannattasio sait nuancer une voix large et dramatique pour incarner une héroïne touchante>>

Anne-Marie Chouchan - La Depeche

<<La fort jolie voix de Carmen Giannattasio permet au spectateur  de se dire qu'il est bien au Capitole qui reouvre un an hors de mur..>>

UTMISOL -  Danielle Anex-Cabanis

<<Fort hereusement, Carmen Giannattasio, chanteuse au grands moyen et au fier temperament..maitrisant sa ligne de chant meme ou plus fort des emballements orchestraux, elle a étè éblouissante dans l'incarnation de cette pauvre Mimi'..elle aurait suffi à assurer  elle seule le success de cette nouvelle Bohème.>>

Larent de Caunes - L'Opinion Indipendante

<<..en el personaje de Mimi', no puede negarsele a Carmen Giannattasio una notable aplitud vocal>>

Philippe Andriot - Opera Actual

<< La Mimi' de Carmen Giannattasio est dotée d'une voix corsée et puissante avec un medium et un grave riches en harmoniques..>>

Hubert Stoeckfin - Classiquenews


<< Carmen Giannattasio est une véritable Mimi, cette petite sœur de Manon Lescaut. Ce soprano  possède la voix exacte du rôle : ampleur, homogénéité des registres, parfaite projection sur l’ensemble de l’ambitus requis. Son timbre sombre peut désorienter par rapport à un personnage essentiellement fragile, mais l’exigence de la partition est là. On le sait, Mimi est à la limite du soprano dramatique.>>

Robert Pénavayre - Classic Toulouse

REQUIEM GIUSEPPE VERDI PALAIS PRINCIER PRINCIPATO DI MONACO LUGLIO 2010

<<Carmen Giannattasio enfin charges de superbe phatos verdien tout la fin du Libera me et nous fait retrouver cette naivité de l'emotion spectaculaire et sans fausse pudeur, consubstantielle aux sentiments religeux italiens que les sophistications de consoeurs plus illustres nous avaient fait en peu oublier.>>

Christian Colombeau Magazin des artes et spectacles

I MASNADIERI GIUSEPPE VERDI FESTIVAL ALFREDO KRAUS TEATRO PEREZ GALDOS LAS PALMAS GIUGNO 2010

"Carmen Giannattasio è stata un'Amalia di spicco e dalla voce calda, vellutata rotonda e piena. un soprano dall'acuto luminoso e lucente preso di forza- si tratta pur sempre di un verdi di galera-e che ha stravinto grazie alla trepida interpretazione, sostenuta da notevole sicurezza musicale, sciolta anche nell'agilità di forza, controllata ed impeccabile nella linea di canto"
Andrea Merli L'Opera

<< En lo que toca a lo mejor, trionfò indiscutiblemente Carmen Giannattasio en el duro rol de Amalia. La soprano napolitana posee una autentica voz verdiana, extensa, sonora y muy bien proyectada. Tanto en el canto elegiaco  de los andantes  como en los momentos de bravura saliò  airosa y con una entrega absoluta>>

Leopoldo Rojas - O' Donnell    Scherzo


<<Nada que objetar a las habilidades, belcantistas, al tiempo que dramaticas, de Carmen Giannattasio como Amalia..>>

Cayetano Sanchez       Opera Actual


<<La soprano Carmen Giannattasio, que también tiene tarea exigente, llega magníficamente al final con un instrumento sonoro, flexible, expresivo..>>

G. Garcia Alcalde La Provincia

ERMIONE GIOACCHINO ROSSINI ROYAL FESTIVAL HALL LONDON MARCH 2009

<<As the enraged Ermione, Carmen Giannattasio declaimed exalted emotions with Magnani-like passion, confirming my view that she the most talented of the younger Italian sopranos. >>

Rupert Christiansen - The Telegraph

<<The only character who comes across as a recognisable individual is Ermione herself, sung with a clean, Italianate cut and much brio by Carmen Giannattasio. Her closing scene, as the conflicting emotions of love and vengeance tear Ermione’s mind in two, at last made the hair tingle on the back of one’s neck.>>

Richard Fairman - Financial Times

<<Carmen Giannattasio made of her character a dangerously emotive woman, who appears from the beginning to be furiously in love and contemptuous of any other character.. Giannattasio's warm and fierce tone was effective in conveying hysterical lines such as 'Odio Pirro, odio Oreste, odio me stessa!' ('I hate Pirro, I hate Oreste, I hate myself!')..Giannattasio's interpretation reached the highest peak in her grand scene: through a series of rubati and extreme dynamics, she was able to convey the character's psychological breakdown.>> Marina Romani - Musical Criticism

<<Carmen Giannattasio's Ermione heats up searingly in the magnificent second act with a sequence of arias that propel the action relentlessly to its tragic climax.>>

Robert Allen - MMMusic


<<Her Ermione was warm and passionate. She has quite a rich, vibrant voice but also a deft way with coloratura.>>

Robert Hugill - Music andVision

<<This Opera Rara concert presentation was fortunate to field a genuinely dramatic soprano Ermione in Carmen Giannattasio, with the technique to negotiate Rossini's fiendish flourishes, but oodles of emotion as well.>>

Bayan Northcott - Indipendent

REQUIEM DI G. VERDI PHILARMONIA SAN PIETROBURGO MARZO 2009

Carmen Giannattasio has a rich soprano voice and shows a clear understanding of her part’s expressive range. She is well matched by mezzo Veronica Simeoni, and their dueting in the ‘Recordare is outstanding.

BBC  MUSIC MAGAZINE





PARISINA GAETANO DONIZETTI ROYAL FESTIVAL HALL LONDON DECEMBER 2008 e Incisione Operarara

<<Soprano Carmen Giannattasio sings the title role with dramatic intensity and true bel canto style. Her voice is large and attractive, albeit with an occasional steely edge, yet she successfully scales it down as the music demands. The aria "Sogno talor" is particularly lovely, with Giannattasio spinning out some skillfully floated pianissimo lines.>>

DEREK GRETEN-HARRISON  -  OPERANEWS

<<..Her discriminating singing depicted the heroine's plight vividly..>>

George Hall - Guardian

<<..her last gasp one of the most electrifying in all opera.. In fact, alone of the cast, Giannattasio lived through every dramatic reaction and response within her resinous, eloquently inflected bel canto singing.>> Hilary Finch - Times

...Carmen Giannattasio's... vocal attack is magnificent and the trills and runs and drops through the registers spot on

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 - a cunning piece of casting.

Gramophone Magazine

<<But it’s impossible not to be swept along by the passion, and Carmen Giannattasio gives an emotionally vivid reading of the title role.>>

Rupert Christiansen -Telegraph

<<Discípula de Leyla Gencer en la academia de La Scala, no cabe duda de que ha asimilado las enseñanzas de su mentora, superándola incluso en algún punto: el estilo es impecable, como la intención en el fraseo, y el gusto es superior, pues no hay golpes de glotis efectistas..
El instrumento es sorprendentemente homogéneo.. El canto está constantemente matizado, siendo particularmente expresivas las messe di voce que introduce sutilmente. Pero lo mejor es cómo actúa con la voz, a través de una variedad de colores y claroscuros muy atractivos, captando la esencia desamparada que el personaje muestra desde su primera aria ('È in me natura il pianto. Forse un destin'). La solvencia de la técnica y el legato superan la prueba de fuego de 'Sogno talor', saliendo con la cabeza alta en una comparación con Caballé; el temperamento queda oportunamente expresado en el dúo con ‘Azzo’ y la cabaletta final ('Ugo è spento'), más matizado que el de Pendatchanska. En definitiva, toda una creación.>>
Raul Gonzalez Arevalo - MundoClasico




<<At this Royal Festival Hall concert, the eponymous role was sung by a soprano with a beautiful middle range: warm and voluptuous with a mezzo-ish tint, on which Parisina’s music sat comfortably. Carmen Giannattasio made an impressive London dèbut and.. She modulated her tone in accordance with her character’s mood and feelings: her love for Ugo or, in the last act, her despair>>

John T. Hughes - Classical Music




LA TRAVIATA TEATRO POLITEAMA LECCE FEBBRAIO 2010

<<..per fortuna lei, Violetta, cioè a dire Carmen Giannattasio: l’arte è ancora una cosa reale, il suo presente porta i segni della storia, la sua bellezza le domande sul futuro, il suo premio una punta di dolore. Se Traviata è opera a protagonista assoluto, intorno al quale tutto ruota, la Giannattasio
lo è stata, perché di assolutoin lei c’è la sua caraturavocale: una voce che è già teatro, nel senso che loriempie proprio, lo attraversain lungo e in largo e arriva ovunque, sempre piena..Certo è che la Giannattasio ha attraversato sempre con sicurezza e personalità il multiversumdel mondo di Violetta: dalla leggerezza virtuosisticadella cortigiana al lirismodella donna innamorataal realismo delirante della fine. >>

Francesco De Santis - Contrappunti

<<Carmen Giannattasio, fisico, presenza scenica, voce incantevole, agilità da brivido. E un fraseggio duttile e sfumato come Rodolfo Celletti auspicava per Traviata.>>


Francesco Mazzotta - Corriere del Mezzogiorno

<<Nel ruolo principale Carmen Giannattasio giovane e sicura, voce chiara ed espressiva, sempre controllata in tutti i registri, ma anche disponibile a relizzare scenicamente un aVioletta di mutevole e pur sempre centrata adesione al personaggio:intrisa di amarezze, quasi nevrotica al limite dell'alcolismo nel primo atto, quasi presaga di una impossibilità di proseguire in una situazione felice e quindi prostrata, amara e sconvolta nel secondo.Dolentemente rasseggnata e flebile in quello conclusivo>>

Nicola Sbisà - L'Opera

<<Molta era l’attesa per il noto soprano Carmen Giannattasio, autrice di una performance eccellente sotto ogni punto di vista. Donna di fascino indiscutibile, dalla voce piena e calda, è stata una Violetta vibrantissima, ricca di slancio e bruciante tensione interiore, facendo emergere la sensibilità della donna ancor prima di quella dell’interprete, con estrema naturalezza votata all’abbandono ed alla sofferenza. Tra i tanti momenti memorabili da ricordare la carica di dolore e rimpianto con cui ha permeato la melodia di "Dite alla giovine".>>

Eraldo Martucci - Nireo

<<E' piaciuta. Tanti gli applausi. Violetta (Carmen Giannattasio) ricca di ardore e dolcezza e Roberto De Biasio (Alfredo) bravissimo. Splendide voci e un'intensa forza scenica. Carmen Giannattasio, commovente e coinvolgente "Violetta du jour"..>>

Daria Ricci - Il Tacco d'Italia

IL CORSARO GIUSEPPE VERDI OPERNHAUS ZURICH NOVEMBER 2009

<<Carmen Giannattasio, as the purposeful Gulnara, deployed vigorous attacks, thrusting energy and excitingly ringing climaxes.>>

HORST KOEGLER  OPERANEWS

<<Carmen Giannattasio (Gulnara) was new to me and what discovery she was, taking the stage from her first entrance and commanding our attention with ravishing phrasing, assured histrionics, and complete command of early Verdi. Ms. Giannattasio’s dusky soprano has a hint of metal, meaning she crested the climaxes with fine effect. Early on, I worried I might tire of her no-nonsense delivery. But she soon proved herself capable of well-controlled introspective phrases and moments of hushed, haunting piannissimi. I hope to encounter her again.>>

James Sohre - Opera Today

<<..molto brava carmen giannattasio nel ruolo di gulnara...nella definizione del suo personaggio, veemente, impetuoso, ricco d'impennate e di abbandoni, reso alla perfezione dal soprano, scenicamente autorevole e cantante in ognicaso assolutamente attendibile.>>


Nicola Salmoiraghi - L'Opera

<<Carmen Giannattasio esibisce un timbro dal colore splendido, con accenti nsfumati, valorizzato da una e tecnica di emissione e da una intonazione perfette. Svettante, agile nei registri alti, sontuosa nei centri, luminosa nei gravi; il soprano affronta con estrema sicurezza l'ispida vocalità di Gulnara, caratterizzata da ampi scomodissimi intervalli.>>

Lauretano Rodoni




LA TRAVIATA GIUSEPPE VERDI SCOTTISH OPERA NOVEMBER 2008

<<At the centre is Carmen Giannattasio's wonderfully vivid Violetta. She presents a tough courtesan with a vicious temper and an iron will, but it's her very worldliness that makes her collapse so moving - far more so than the glamourpuss version purveyed in the past by Mesdames Gheorghiu and Netrebko..Giannattasio uses everything she's got to shape the line and colour the words..this is a deeply intelligent and profoundly affecting interpretation in the Cotrubas and Scotto mould.>>

Rupert Christiansen - Telegraph


<<The real stars of the show are Carmen Giannattasio, with her wonderfully tragic Violetta, and the fantastically solid Richard Zeller as Giorgio Germont, father of Alfredo. Giannattasio's voice is magnificent, and she shows much versatility, from a light flippancy in Act I, to the highly strung emotions of Act II and finally a tragic tenderness as she lays dying in Act III, the words 'Addio, del passato' all the more moving with carnival celebrations going on outside her window. It is an amazing feat to give the impression of terminal illness whilst delivering such a fiendishly difficult vocal part with such perfection.>>

Aaron Mcgregor - Musical Criticism

<<.And, in years to come, opera-lovers will enjoy telling their friends that they were there when soprano Carmen Giannattasio - surely destined to be one of the great divas of her generation - sang her first Violetta.>>

Alan Morrison Sunday Herald

<<Giannattasio is undoubtedly the stronger performer of the two; her pure voice is powerful and affecting, and well conveys Violetta’s joyous attitude to life, yet on her deathbed she is able to portray her frailty with soft, haunting tones>>

Anna Fenton - The Journal

<<Carmen Giannattasio’s Violetta is a triumph. There is a resonance to her voice that rings through the theatre, riding the big moments, such as Amami Alfredo, with exhilarating security, while paling down for the intimate duets like Dite alla giovine. The big, fast moments are utterly secure with fantastic coloratura at the end of Act II.>>

Simon Thompson - Seen and Heard International

<<The company is luckier with its leading lady. The Italian soprano Carmen Giannattasio has the ingredients to make a first-rate Violetta: good looks, a real understanding of Verdi style and a native command of the text.>>

Hugh Canning - Sunday Times

<<Carmen Giannattasio's versatile, ringing soprano makes her an affecting Violetta..>>

Anthony Holden - The Observer

<<Carmen Giannattasio's Violetta is magnetic..a splendid actress..>>

Anna Picard - Indipendent on Sunday

<<Subtle variations in timbre, a pure sound and lengthy phrasing are there to be appreciated but so, too, is Carmen Giannattasio's taut portrayal of Violetta. Borrowing a few of the minx-like traits of her cigarette-girl namesake, this Violetta is no drooping flower but a thorny fighter against her fatal consumption and all the consequences of her empty life as a Parisian courtesan. Giannattasio inhabits the part with a flinty defiance while communicating her ultimate despair with touching rawness>>

Lynne Walker - The Indipendent

<<His centrepiece is Carmen Giannattasio the Italian soprano whose Rossini made such an impact at Edinburgh and Garsington. She has the perfect looks. She also has the technique for “Sempre libera”, though Verdi exposes a brittle quality and she was unwise to attempt the unwritten high E flat. Above all she has what Verdi called anima (soul): her emotional honesty, not least in the tearful breathlessness of the letter-reading, makes her a far more moving Violetta than Anna Netrebko, the Violetta du jour.>>

Andrew Clark - Financial Times

..<<inspired young Italian heroine, Carmen Giannattasio. The result is an evening of much finesse and understanding, played out with the kind of intimacy Verdi desired>>

Conrad Wilson - Herald Scotland

<<Carmen Giannattasio brings a voice of dark-hued power and fluidity to Violetta.>>

Rowena Smith . The Guardian




LA DONNA DEL LAGO USHER HALL EDIMBURGO AGOSTO 2006 e INCISIONE OPERARARA

Carmen Giannattasio sounds perfectly at home in the low-lying music, and with her languid, dark voice she is an arresting vocal presence, casting a spell over the entire performance until her happy-ending aria, "Tanti affetti," sung effectively and intelligently, without glitter or frivolity. >>

JUDITH MALAFRONTE  - OPERA NEWS


<<As Elena, Carmen Giannattasio, too, is magnificent, opening the opera with confidence in her famous aria.>>

Dominic McHugh - Musical Criticism

<<Behold, a prima donna is born.. judging by the confidence with which she met the technical challenges of her part, she has star temperament. But it was for her artistic qualities – above all the beauty and flexibility of her vocalism – that Giannattasio made such a deep impression in an opera designed to display those very virtues.What distinguishes her in the early 19th century Italian repertoire is that her voice has body and colour from top to bottom. These same qualities have already taken her into heavier roles..Giannattasio is not interested in vocal acrobatics per se: she is too dramatically alert, as her showcase finale illustrated.>>

Andrew Clark - Financial Times




<<Carmen Giannattasio as Elena and Kenneth Tarver as Uberto. Both voices are new to me. The Neapolitan Giannattasio has an evenly produced soprano with a lowish centre so that the vocal outcome is 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

LA DONNA DEL LAGO GARSINGTON FESTIVAL JUNE 2007

<<..Scott’s Lady of the Lake, was serious and, thanks to Carmen Giannattasio, spectacularly well sung.>>

Geoff Brown - The Times

<<Carmen Giannattasio, as a plausible heroine, delivered her coloratura flights with muscular and graceful assurance>>

Michael Church - The Indipendent

<<Elena - the "lady of the lake" who is wooed by the king, betrothed to a rebel leader and in love with a young warrior - is eulogised in the opening scene as a "woodland goddess", an apt description of Giannattasio. In Gideon Davey's costume she looks divine, and her solo scenes reveal an intelligent actress, molto simpatica, who knows how to hold the stage and toy with the audience's feelings. But it's the voice, and the way she uses it, that ultimately counts. Giannattasio has an easy command of Rossini's arching lines and a teasing but never self-serving way with the fiendish roulades. 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




<<The central roles of Elena, the Lady of the Lake herself, and Giacomo, who is the king of Scotland in disguise, are hugely taxing bel canto parts, but Carmen Giannattasio and Colin Lee sing them wonderfully, taking the fusillades of coloratura in their strides..>>

Andrew Clements - The Guardian

<<Carmen Giannattasio offers grace and charm in her shaping of Elena’s lines>>

George Hall - The Stage




MAOMETTO II GIOACCHINO ROSSINI TEATRO LA FENICE VENEZIA FEBBRAIO 2005/INCISONE DYNAMIC

<<Di grande risalto la prova del soprano Carmen Giannattasio, un’Anna trepida e risentita, tecnicamente impeccabile, musicalmente e stilisticamente avvincente.>>

Cesare Galla - Il Giornale di Venezia

<< Carmen Giannattasio, Anna, emerge nel melodismo patetico, cosi' come nelle impervie fioriture del rondò finale>>

Mario Messinis- Il Gazzettino


<<her vocal warmth and technical accuracy shine through. They need <<to do so because this role has numerous serious vocal leaps and long runs giving splendid opportunities for vocal display that she takes graciously. She produces some lovely deep sounds – almost, if not certainly, at mezzo level – with some delightful colouring.>>

Robert McKechnie - Music Web

<<Both female roles were outstandingly sung and acted. Carmen Giannattasio as Anna Erisso has a lovely stage presence matched by a lyric soprano voice of beauty, clarity and a wide palette of colour. Her acting was on a par with her vocal skills and could not be faulted from her Ilarita! …Per me? in act one to her rendering of the rondo finale at the happy conclusion in this version>>

Robert J Farr - Music Web




<<The star of Maometto Secondo , and of this box set, is Carmen Giannattasio: her Anna is a showstopper, as vocally and visually stunning as her Elena in last summer's La donna del lago at Garsington.>>

Andrew Clark - Financial Times




<<Carmen Giannattasio as Anna looks lovely and, more importantly, has a voice to match. The legato is fine; the coloratura are sharply defined but above else the voice has warmth—that quality the Italians call “morbidezza”.>>

Jan Neckers - Opera Today

SIMON BOCCANEGRA GIUSEPPE VERDI TEATRO COMUNALE BOLOGNA

<<Carmen Giannattasio, visually a Renaissance painting come to life. Her stage presence is innately sympathetic, her timbre colorful and immediately appealing... the expanding passages are delivered with musicality to burn and much finely wrought tone. >>

Roger Pines - OPERANEWS

<<Non è facile per i cantanti trovare la temperatura espressiva acconcia. Chi ci riesce è Carmen Giannattasio, Amelia-Maria il cui candore liliale non erode una virgola della risolutezza del caso. Bella voce.. ed è interprete di razza>>

Enrico Girardi - Il Corriere della Sera