Jul 9, 2014
Giuseppe Filianoti has the ideal timbre for Federico: beautifully lyrical, but with enough power to meet the stringent requirements of the complex role, with its many mood swings, to meet. I would truly do not know who else could sing the role with so much feeling and yearning (perhaps after Jonas Kaufmann). It‘s a real ‘Caruso role’; with poetry alone can not make it.
(Giuseppe Filianoti heeft het ideale timbre voor Federico: prachtig lyrisch, maar met genoeg kracht om aan de zware eisen van de complexe rol, met zijn vele gemoedsveranderingen, te voldoen. Ik zou waarachtig niet weten wie anders de rol met zo veel gevoel en smacht zou kunnen zingen (wellicht op Jonas Kaufmann na). Het is een echte ‘Caruso-rol’; met lyriek alleen red je het niet.)
Place de l’Opera, Opera Magazine, The Netherlands, July 7, 2014
May 7, 2014
It seemed like déja vu all over again on February 16, when San Diego Opera offered Donizetti’s L’Elisir d’Amore with Italian tenor Giuseppe Filianoti as Nemorino. The San Diego Elisir played in Stephen Lawless’s Los Angeles Opera production (developed with the Grand Théâtre du Geneve and designed by Johan Engels), which had served for Filianoti’s Los Angeles Opera debut in September 2009. The show worked better in San Diego….
San Diego Opera provided Lawless with a uniformly excellent company. Filianoti, who possesses a bright, forward voice with little fear of the stratosphere, is an engaging actor: his portrayal of Nemorino as shy, gauche and ecstatic by turns was quite fetching. When Tatiana Lisnic’s vivacious Adina kissed him, Filianoti literally quivered, shook and rocked her in his arms. He delivered a fine “Una furtiva lagrima” as well.
Opera News, Charlene Baldridge, May, 2014
Jan 13, 2013
Tenor Giuseppe Filianoti had tremendous run of “La Clemenza di Tito” in November, but his performance in Friday’s “Rondine” was among the best I have heard him deliver on the Met’s stage. The 39-year old tenor (he was celebrating his birthday during this performance) possesses a bright sunny sound one usually associates with Italian singing. More importantly, Filianoti sculpts phrases like few others do these days; his legato is elegant and refined and his singing is always brimming with intensity and passion.
Jan 9, 2013
By William V. Madison | GBOpera Opera Magazine (http://www.gbopera.it)
Il tenore italiano Giuseppe Filianoti [recentemente intervistato da GBOpera] ha offerto un’esecuzione elegante e bellissima – si potrebbe quasi dire “astuta” – di “Quando le sere al placido” dalla Luisa Miller, iniziando con una eleganza soave che ha dato ulteriore impatto all’emotività bruciante dei passaggi successivi dell’aria. Con una perfetta dizione francese e fascino lirico, Filianoti ha anche cantato il ruolo del poeta di Offenbach nel concertato che conclude l’atto di Giulietta ne Les Contes d’Hoffmann, insieme alla…
Italian tenor Giuseppe Filianoti offered a stylish, beautifully — one might even say cunningly — executed “Quando le sere al placido” from Luisa Miller, beginning with a suave elegance that lent extra impact to the searing emotionalism of the later passages of the aria. With nicely pointed French diction and lyric flair, Filianoti also sang Offenbach’s poet in the ensemble that concludes the Giulietta act of Les Contes d’Hoffmann,…
Nov 21, 2012
“As Tito, Giuseppe Filianoti… soared to virile, commanding form in his elaborate ‘Se all’impero’ aria in the second act. Even more impressive was his acting. Pale and dark-eyed, the tenor re-imagined the stoic emperor as a haunted, poetic soul who wept openly when facing the necessity of condemning his friend to death.”
– James Jorden, New York Post, November 20, 2012
Apr 23, 2012
“Italian tenor Giuseppe Filianoti possesses a clear, honest voice that is imbued with pathos and a sort of sunny heroism in the upper range, as well as firm pitch control overall. But his real strength is his wide emotional range, which can embrace everything from sorrow to ebullience, resignation to determination. The full breadth of his gifts was on display at his Harriman-Jewell Series recital on April 21st at the Folly Theater, his first solo recital in America and the latest of a distinguished series of debuts presented by the Harriman organization. It was an intimate, personal affair consisting chiefly of Italian songs and arias drawn from the late-Romantic repertoire for which his voice seems particularly well-suited… Filianoti is a singer of fine musical instincts, and he is considered one of the leading lyric tenors today, especially in the Italian and French repertoire.”
Paul Horsley, KCIndependent.com, April 23, 2012
Mar 5, 2012
(Opéra National de Paris)
“…there is no denying his was the star vocal presence of the night. Not for him the suave styling and crooning of say, Alfredo Kraus. Signor Filianoti can spin a tender line to be sure, but he is happiest when he can go for the jugular, and when he delivers the impetuous top notes he lands them right between your eyes. To his credit, his full-bodied approach complemented his leading lady quite well, and he was a generous and deferential colleague. But when firepower was required, Giuseppe provided salvo after salvo.”
James Sohre, OperaToday.com, March 5, 2012
Dec 9, 2011
(Teatro alla Scala)
“As Donna Anna’s patient lover Don Ottavio… the voice has Italianate ring, and something can be said for Don Ottavio imbued with Mr. Filianoti’s brand of ardor.”
George Loomis, The New York Times, December 9, 2011
Oct 12, 2011
(Lyric Opera of Chicago)
“Authentic Italianate style is upheld especially well by the Italian tenor Giuseppe Filianoti as Lucia’s lover, Edgardo. His voice blended beautifully with Phillips’ and their characters’ increasing desperation as the opera moved to its tragic denouement clearly engaged the opening-night audience.”
John von Rhein, Chicago Tribune, October 12, 2011
“At least authentic bel canto style was upheld by Giuseppe Filianoti as Edgardo. He sang with ease and fluidity and cut a handsome, Byronic figure.”
A.U., Opera, February, 2012
May 23, 2011
(Washington Concert Opera)
“Filianoti shares with his predecessor a tightly wound voice effective at suggesting melancholy and fraught excitability, and an ability to sweetly caress a phrase.
…his high notes were… exciting, and he vividly suggested the blurred line between his character’s poetic sensitivity and self-annihilating psychosis.”
Joe Banno, Washingtonpost.com, May 23, 2011