Apr 5, 2010
(Lyric Opera of Chicago)
“Lyric scored a valuable addition to its enviable roster of lyric tenors with the company debut of Giuseppe Filianoti as Nemorino, one of his signature roles. The Calabrian singer’s timbre is bright and slightly reedy, with an open-throated approach above the staff that leads incisiveness to the tone, yet he boasts an elegance born of keen dynamic control. ‘Una furtiva lagrima’ was very intelligently shaped, and he had the whole boyishly-bumbling thing down pat. Filianoti was rewarded with a huge ovation at the final calls.”
Mark Thomas Ketterson, Opera News, April 2010
Mar 5, 2010
(Teatro delle Muse di Ancona)
“At her side [Mariella Devia], Giuseppe Filianoti distinguished himself… the performance saw Filianoti exhibit his gorgeous voice, timbre kissed by the gods, and he sang with security, linguistic insight, abandon and sense of phrasing.”
Nicola Salmoiraghi, l’opera, March 2010
Dec 5, 2009
(München Bayerische Staatsoper)
“With a special love presented is Nemorino, whose polished role concept meets an extraordinary cast with the tenor Giuseppe Filianoti. This character is staged as a mixture of Charlie Chaplin and a pubescent boy, languishing Adina at times and then keeping her in suspense… Filianoti’s acting talent is flourishing and also his vocal performance is absolutely worth listening to, when down from a telephone pole he is adoring Adina with ‘Una furtiva lagrima’.”
A.U., Online Musik Magazin, 2009
Dec 4, 2009
By Ingrid Wanja | Orpheus Magazin
Vor einigen Jahren hat Orpheus anlässlich Ihres großen Erfolgs mit Gounods Faust an der Deutschen Oper Berlin bereits ein Interview mit Ihnen gemacht. Welches waren die wichtigsten Schritte in Ihrer Karriere in der danach folgenden Zeit?
Sep 16, 2009
(Los Angeles Opera)
“Giuseppe Filianoti’s lyric tenor has a distinctive Italianate timbre that renders it unique.”
Carie J Delmar, Opera Online, September 16, 2009
May 20, 2009
(The Royal Opera, Covent Garden)
“Giuseppe Filianoti brings a reliable tenor to her sweet, gawky admirer Nemorino.”
Warrick Thompson, Bloomberg News, May 20, 2009
“Filianoti is fearless in pursuit of self-deprecating laughs, whether flailing hopelessly around the preening Adina or hurling himself up and down the giant haystacks.”
Neil Fisher, The Times of London, May 14, 2009
Apr 30, 2009
By Albert Imperato | Playbill Arts
Italian-born Giuseppe Filianoti has won acclaim around the world for his superb performances in the bel canto repertoire. The well-read family man appears May 12-25 as Nemorino (opposite Diana Damrau) in Laurent Pelly’s staging of L’elisir d’amore at Covent Garden.
Jan 26, 2009
“Mr. Filianoti has a virile, bright voice with Italianate ping in his upper range. With his limber and youthful appearance, he held the stage and embodied the part of the reckless and lecherous Duke.”
Anthony Tommasini, The New York Times, January 26, 2009
Dec 5, 2007
(Opera Orchestra of New York)
“Audience members applauded and stomped their feet, shouting ‘Bis!’ and Giuseppe Filianoti complied with an encore. Remember his name: He’s going to be a major tenor.
Slender, with bushy hair and expressive eyes, Filianoti connects with fans in a direct, emotional way. In the unstaged concert performance with the Opera Orchestra of New York, his movements were limited mainly to resting arms on music stands. But when he stands slightly hunched, hand out, palm up and slightly curled, he emotes anguish.
His voice easily soared over the orchestra, pinging at the top in a manner that’s rare for tenors these days. He hasn’t been hyped, making a low-key Metropolitan Opera debut in October 2005 as Edgardo in Donizetti’s Lucia di Lammermoor and returned last May for Donizetti’s L’Elisir d’Amore. Filianoti’s rendition of Federico’s lament, ‘E la solita storia,’ was moving, with beautiful arched lines that retained their color when pushed — after ninety seconds of applause, he repeated the aria, then was applauded for another minute.”
Ronald Blum, The Associated Press, February 22, 2007
Dec 4, 2007
By Fred Cohn | Opera News
Giuseppe Filianoti won an instant local following when he made his Met debut as Edgardo in the fall of 2005 in Lucia di Lammermoor. The young tenor used his unblemished, firmly knit lyric voice to create long, sculpted phrases whose elegance recalled the singing of his onetime teacher Alfredo Kraus. His success turned his Nemorino, later in the season, into an unexpected hot ticket.