Oct 20, 2010

LES CONTES D’HOFFMANN (Hoffmann)

(Metropolitan Opera)

“The ever-pleasing Giuseppe Filianoti returned with a near-triumphant Hoffmann, as compelling and vivid physically as vocally. Filianoti gave one hundred percent of himself; his Hoffmann is a splendid, brave assumption.”

David Shengold, Gay City News, October 20, 2010

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Sep 4, 2010

Concert – Messa da Requiem

(Teatro alla Scala Tour, Buenos Aires)

“The two best members were the soprano Marina Poplavskaya and the very able lyric tenor Giuseppe Filianoti, who is having a promising career and showed an exquisite command of sweet but never cloying phrasing.”

Pablo Bardin, The Buenos Aires Herald, September 4, 2010

Aug 5, 2010

LES CONTES D’HOFFMANN (Hoffmann)

(Opéra National de Paris)

“In an overwhelming role tending towards flights of lyricism, his portrayal of the distraught poet has sincerity, an admirable French diction, and [he] glides into this music with almost as much ease as the Italian bel canto… We heard and watched this brave performance from beginning to end with pleasure.”

Jean Cabourg, Opéra Magazine, July-August, 2010

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Apr 5, 2010

L’ELISIR D’AMORE (Nemorino)

(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

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Mar 5, 2010

LUCREZIA BORGIA (Gennaro)

(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

L’ELISIR D’AMORE (Nemorino)

(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

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Sep 16, 2009

L’ELISIR D’AMORE (Nemorino)

(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

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May 20, 2009

L’ELISIR D’AMORE (Nemorino)

(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

Jan 26, 2009

RIGOLETTO (Duca di Mantova)

(Metropolitan Opera)

“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

L’ARLESIANA (Federico)

(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

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