Nov 21, 2012


(Metropolitan Opera)

“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

“In an alert, engaged performance with a well-balanced ensemble, what’s best in Clemenza cuts to the quick with the elegance and efficacy found in all of Mozart’s finest works.
Intentionally or not, the cast provided its own ambiguous shadings. Giuseppe Filianoti brought to Tito obsessive eyes, nervous intensity and a limber, pinging lyric tenor…”
– Steve Smith, The New York Times, November 19, 2012

“It’s certainly among the strongest offerings from the Met so far this season. The cast, headlined by the lustrous-voiced Latvian mezzo-soprano Elina Garanca, is consistently top-notch.
As Tito, tenor Giuseppe Filianoti gives a strong portrayal of a righteous ruler grappling with his place in history… his singing is rich-toned and fluent.”
– Mike Silverman, The Associated Press, November 18, 2012

“This performance featured a strong young cast dominated by Giuseppe Filianoti in the title role and the flexible mezzo of Elina Garanca as Sesto… The title role offers superb opportunities for a high-lying tenor with a flexible instrument that can blend into ensembles and soar above the stave. Filianoti filled all of these requirements, adding a kookiness to Tito that made this stoic ruler just weird enough to be lovable. His slightly crazed look whenever he’s about to pardon one of his assassins will probably play well in the ‘Live in HD’ telecast.”
– Paul J. Pelkonen, The Classical Review, November 17, 2012

“Giuseppe Filianoti is commanding in the title role, his solid tenor full of authority and, at the end, compassion.”
– Wilborn Hampton, The Huffington Post, November 17, 2012

“With his noble and expressive face, Giuseppe Filianoti made a splendid impression as Tito. His singing was clear and mellifluous, the words poetically delivered. The tenor finely delineated the emperor’s dilemma in dealing with his betrayal by his friend Sesto… it was really very pleasing to hear him on such beautiful vocal form tonight.”
– A.U., November 20, 2012

“Giuseppe Filianoti made a triumphant return to the Met in the title role. Filianoti brought a thrilling and immediate complexity to the emperor making him a man stuck between his own sense of duty as ruler and the personal loneliness that it creates for him. Filianoti’s voice exudes warmth and brilliance and coupled with his elegant phrasing and strong acting creates a truly satisfying package. His relaxed singing throughout gave Tito a sense of control and his delicate phrasing, particularly in the first two arias ‘Del piu sublime soglio’ and ‘Ah se fosse intorno al trono,’ captured the noble nature of the emperor. In the second aria he added a wonderful cadenza that climaxed in a high note that placed an authoritative stamp on the proceedings. However, every tenor’s biggest challenge in the role is the final aria ‘Se all’impero,’ which includes a high tessitura that rises to a B flat and a plethora of ascending coloratura passages. Filianoti’s rendition was a riveting display of virtuosity and vocal power, particularly in the latter coloratura of the aria.”
-David Salazar,, November 21, 2012

“…The unsurpassable protagonist was the tenor Giuseppe Filianoti, highly skilled in presenting an unusual character that many make ridiculous in his narcissistic mania for goodness, forgiveness and forgetfulness. The tenor from Reggio Calabria gave a dignified characterization, and vocally was very sensitive both in arias and the accompanied recitatives. ”
– From “America Oggi”
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