Oct 20, 2010


(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

“… most of the new singers were good, and one was spectacular. That one was Giuseppe Filianoti, the Italian tenor who inhabited the title role. He sang with equal parts poise and eloquence. He rang rafters with a tireless volley of plangent top tones. He sustained the high tessitura without a flinch. He conveyed the hero’s feverish, foolish passions with urgency, charm, impetuosity and pathos.”

Martin Bernheimer, Financial Times, October 1, 2010

“Tireless in a long and punishing role, Filianoti hurled out fiery high A’s and B’s. His vivid acting as the doomed poet — angry, hysterical and finally defeated — illuminated Bartlett Sher’s otherwise tame production.

In the final scene, when Hoffmann retreats into madness, the tenor’s soulful eyes turned opaque, a moment of pathos….”

James Jorden, New York Post, October 4, 2010

“Giuseppe Filianoti, as Hoffmann, looks like a young Charlie Chaplin and brings a compelling combination of swagger and vulnerability to the role. His voice is warm and powerful, and in Hoffmann’s most passionate music — the duets “C’est une chanson d’amour” and “O Dieu! De quelle ivresse” — he is completely convincing.”

Allan Kozinn, The New York Times, September 29, 2010

“In the title role of the unlucky-in-love poet, Italian tenor Giuseppe Filianoti gave a fearless performance, taking most of the optional high notes in the long and grueling role and holding onto them tirelessly. The sound of his lyric tenor is warm and appealing, and it seems to have grown in size and stamina since his debut five years ago. He played the role with disarming earnestness and ever-hopeful romantic ardor.”

Mike Silverman, The Associated Press, September 29, 2010

“As Hoffmann, tenor Giuseppe Filianoti, who made his Met debut in 2005 in Lucia di Lammermoor, again shows himself to be a most valuable artist… His handsome, Italianate voice was a pleasure to behold and he sang with much fervor. His voice stood up well in this demanding role, allowing for some especially passionate singing even late in the evening when he launched into the stirring opening of the duet with Giulietta.”

George Loomis, The Classical Review, September 29, 2010