“Carmen Giannattasio ci ha confermato la smodata ammirazione che nutriamo da sempre nei suoi confronti, e ci e’sembrato che la sua voce abbia ulteriormente acquistato in corposita’ e rotondità’,ricca com’e’ di armonici e compatta nel passaggio tra le zone basse e quelle alte del pentagramma”
“Quello di Amelia è un ruolo sopranile che richiede lama agli acuti e ai centri un’espressività che è “del vorrei ma non posso” e un’artista che viceversa può tutto, come Carmen Giannattasio, regala al pubblico il piacere di ciò che canta ed evoca”.
Corriere della Sera
“For Amelia, Verdi wrote some of the most poignant melodies he ever handed to a soprano, and Carmen Giannattasio, making her role debut, exploited all of the possibilities. She was noteworthy for her stage presence and remarkable vocal power, giving her character a sound and lovely voice. Amelia’s Act 2 aria “Ma dall’arido stelo divulsa” was sung with amazing shades of tone, all the many high notes perfectly in tune and memorable.”
“del soprano soprano Carmen Giannattasio (Amelia) conosciamo il notevole temperamento teatrale unito a una altrettanto generosità vocale per bellezza timbrica e sicurezza di emissione”.
“Di perspicace intelligenza artistica Carmen Giannattasio, che interpreta con bravura il ruolo di Amelia”.
IL Giornale della Musica
TOSCA San Francisco Opera
Singing the primary Tosca of her profession, the Italian soprano made a memorable firm debut, shifting with youthful agility, she delivered the position with a lithe, fantastically coloured voice and contemporary, ultra-feminine demeanor.
The today press
As celebrated singer Floria Tosca, Giannattasio masterfully added one of the exemplary roles of the soprano repertory to her roster of achievements as if it belonged there all along. She boasted a lush timbre, spotless vocal phrasing and dramatic heft..
“In both her role and company debut as Puccini’s tragic heroine, Giannattasio brought a ripe and captivating immediacy to almost every note she sang”
“Vissi d’arte was a marvelous centerpiece of a complex and coruscating performance”.
San Francisco Chronicle
Italian soprano made a memorable company debut. Exuding glamour and moving with youthful agility, she delivered the role with a lithe, beautifully colored voice and fresh, ultra-feminine demeanor.
The Mercury news
What we go for is, first and foremost, great singing. This was supplied by Italian soprano Carmen Giannattasio, who was making her San Francisco Opera debut and her role debut as Floria Tosca. Giannattasio has a ravishing voice, one that is especially impressive when she sings full out at the top of the soprano range. But she is by no means a singer who belts at full blast for the sake of sheer power. Giannattasio’s Tosca is a thoroughly thought out characterization, one that combines the soft, tender side as well as the passionate, jealous, and fierce side of the role.
Bercley Daily Planet
The current production is meant to spotlight the title character above all else, and thankfully, Carmen Giannattasio’s highly anticipated debut fulfills all expectations. The charming ambassador for the international opera circuit couldn’t be better suited to the role..She is wonderfully audible and lyrical throughout, and maintains character — singing softly, in a duet, or riding over a swelling orchestra. Her portrayal shifts from coquette to jealous lover or vengeful tigress on a lira, and she really looks the part.
Bay Area Reporter
…it wasn’t the furniture in Puccini’s “Tosca’’ that won the night on Oct. 3, it was an Italian diva making a starry San Francisco Opera debut..her Tosca was bold, sexy and a little imperious. She played the role for all it is worth, singing with gleaming high lines and creamy dark colors, her voice secure and thrilling in its many moods: exultant in her love, tormented by the imprisonment of her lover, desperate in learning of his fate. Her “Vissi d’arte’’ was as regal as it should be, without a trace of self-pity.
Local News Matters
LA TRAVIATA Metropolitan Opera New York
“A Legendary Performance”
“Of the many sopranos who have sung the role of the courtesan Violetta in this production, Carmen Giannattasio is in a way the most successful, because her onstage sweetness and softness contrasts so violently with the steely mood of the staging. Resembling a young Gina Lollobrigida in Violetta’s single costume, a wasp-waisted scarlet cocktail dress, she offered a ravishing mezza voce and big exciting top notes”
SIMON BOCCANEGRA Teatro Alla Scala
“Carmen Giannattasio Amelia fascinosa..”
Corriere della Sera
“Drammatica Amelia Boccanegra di Carmen Giannattasio..”
“Maria e’ una dolente Carmen Giannattasio, capace di toccare le corde più’ intime”
“Carmen Giannattasio e’ un’Amelia fresca e avvenente dal viso di bambola e la voce lirica si piega alle sfumature espressive previste dal ruolo”.
“più convincente e vocalmente meglio rifinita rispetto a quanto fatto nella sua già positiva partecipazione di due anni fa”
“Carmen Giannattasio è un’ Amelia dal fraseggio aristocratico, amorevolmente appassionata e con una linea di canto ricca di suoni tondi, pieni e raggianti in ogni registro.”
Carmen Giannattasio ha cantato nei panni di Amelia (Maria), incantandoci per il timbro soave e squillante. Espressiva e di buona recitazione, a suo agio nel ruolo della giovane donna in balia degli eventi e degli uomini, cui tenta con tenacia di dare una direzione di pace e di amore. Convincente in tutti i duetti, nei quali ha fornito ottima prova di sé.
“Carmen Giannattasio è un’Amelia sofisticata. Dotato di una buona sicurezza tecnica ed espressiva, il soprano dà sfoggio di un’emissione sana e luminosa caratterizzata da preziosi filati, una generosa risonanza e una buona omogeneità timbrica . La postura e il fare aristocratico conferiscono credibilità al ruolo.”
I PAGLIACCI Royal Opera House
Carmen Giannattasio’s ravishing singing as Nedda literally charms the birds off the trees
The Independent Michael Church
“Raw talent: Carmen Giannattasio’s Nedda is ‘musically compelling’ in Pagliacci”
Sunday Times Hugh Canning
Carmen Giannattasio’s magnificent femme-fatale..
The Times Richard Morrison
“Carmen Giannattasio’s Nedda, sings with flair and brilliance”
Financial Time Richard Fairman
“Carmen Giannattasio’s Nedda, passionate, nervous, frustrated, was one of the most moving accounts I have heard of this tricky role.”
The Spectator Michael Tanner
“Carmen Giannattasio was a gorgeous Nedda, reflective but feisty, with bags of charm: her warm, lyric soprano was perfect for the role, displaying a wide palette of colours, and her softer singing was a welcome respite from the maelstrom.”
Opera Now Francis Muzzu
“Carmen Giannattassio’s Nedda, her first go at the role, was also rewarding, a woman both tough and yet potentially vulnerable.”
Opera Magazine Russ McDonald
“Italian soprano Carmen Giannattasio’s Nedda […] had fiery style and panache
Carmen Giannattasio was a febrile, edgy Nedda with thrilling high notes and a perfectly judged sense of line
Music OHM Keith Mcdonnell
“This Nedda is a modern, fully emancipated buy essay woman thanks to the extremely attractive Carmen Giannattasio. She’s full of sexual energy..Giannattasio gives a tremendous emotionally dense interpretation with a clear and skilled Belcanto in which every nuance of words is intensely tangible in vocal saturation.”
Carmen Giannattasio was superb as Nedda: the beauty of her voice was tinged with a slight steeliness, capturing Nedda’s allure and capriciousness.
Opera Today Claire Seymour
There’s a steely glint in Carmen Giannattasio’s upper register – and considerable power – which made her Nedda especially feisty, but she was also capable of goofing around nicely in her “Columbina” stage persona… and who else could scene-steal so outrageously in Cav?
Bachtrack Mark Pullinger
Carmen Giannattasio as Nedda, her lyrical yet sturdy instrument is an ideal fit for this repertoire and her complex physical performance is terrifically accomplished.
Whatsonstage Mark Valencia
Carmen Giannattasio, who sings and acts with real subtlety as Nedda..
The Stage George Hall
La Giannattasio Nedda, un irresistibile sorriso e presenza, in simbiosi con l’elemento sessuale – colori timbrici, quando sale, di velluto.
Giornale della Musica Salvatore Morra
…awesomely beautiful legato singing: dramatic, mellifluous, yet precise. A talented actress to boot, Giannattasio represents the very finest of Italianate singing today…