Quant au trio des commeres, les voila’ idealement castees: la voluptueuse Alice Ford de Carmen Giannattasio, voix au balcon et corsage a l’avenant..
Le Monde
Further examples of the casting perfection we have come to expect of the Aix Festival were the Alice of Italian soprano Carmen Giannattasio..Giannattasio eliciting ravishingly attractive tone always and particularly in her Windsor Park duet with Falstaff
Opera Today
C’est aussi gouleyant avec le chant des dames: Carmen Alice Ford Giannattasio et sa maîtrise..
La Province
L’Alice Ford de Carmen Giannattasio est glamour, telle une starlette blonde et rose, au déhanché de mannequin, au timbre limpide, au phrasé ductile. Elle est le centre de gravité de ce quatuor léger.
OLYRIX
Bei den Damen behaupten sich vor allem Carmen Giannattasio als Alice Ford..
Die Deutsche Buehne
Buona anche la prestazione di Mrs. Ford. Carmen Giannattasio..dispone di un registro grave e centrale finalmente udibili, tanto importanti in questo ruolo e divenuti merce sempre più rara tra le interpreti attuali..La sua è un’Alice glamour, biondo platino..
Operaclick
Le quatuor féminin est lui aussi au diapason avec une Alice Ford (Carmen Giannattasio), voluptueuse Barbie au soprano assuré
CONCERT CLASSIC
..jeu scénique et voix sont au rendez-vous avec une blonde et plantureuse Alice Ford Carmen Giannattasio..
Opera News
Die Frauen von Windsor, prägnant vor allem die Alice von Carmen Giannattasio..
Neue Musik Zeitung
..Carmen Giannattasio fait une Alice finement chipie..
sceneweb
TOSCA Sydney Opera House
MARCH 2021
“Making her house debut, Carmen Giannattasio was a captivating Tosca, playful and wheedling in the first act and desolate in the second. she has marvelous dramatic instincts that made every moment feel and sound immediate.She was the most touching tosca seen on this stage for many years”
OPERA MAGAZINE
“She has an obvious affinity for Puccini’s lyricism and phrasing, with a strong dramatic voice featuring an effortless top-range and lower notes put to powerful dramatic effect. Hers was a thoughtful, well-nuanced approach to the character’s dramatic arc: the flirtatious but somewhat religious diva of Act 1; we see her development from distress and vulnerability to deathly resolve in Act 2; and in Act 3, we witness her final, desperate clarity”
BACHTRACK
“Making her OA debut was the excellent Italian soprano Carmen Giannattasio. With all the notes powerfully produced and her extreme jealousy beautifully encapsulated this was a passionate Tosca indeed. The show-stopping “Vissi D’arte” brought the house down”.
JWIRE
“Carmen Giannattasio makes an impressive Opera Australia debut in John Bell’s dramatic production”
..she brings a beautifully judged sense of drama to the role – spirited in the opening act as she banters with Cavaradossi, then fire and steel in the second as she navigates the terrible dilemmas she’s forced to face. She charts this transformation in her voice, her soprano light and playful early on, gaining searing power and compelling depth as the opera progresses. Her Vissi d’arte begins almost as a sob before it unfurls into a soaring, heart-breaking cry.
LIMELIGHT MAGAZIN
“Since making her role debut in Tosca for San Francisco Opera, Carmen Giannattasio has quickly established herself as a leading interpreter of the role, admired as much for her ability to emerge herself in her interpretation as for her lustrous soprano”. With her finely nuanced performance for her Australian debut in the Sydney Opera House, Giannattasio provided a compelling demonstration as to why this is so.She is warm, almost playful in the first act as she insists that Cavaradossi change his painting to ease her suspicions that he may be having an affair, despite his protests to the contrary.In sharp contrast during the second act after discovering the real reason behind Scarpia’s invitation, she engages in fiery exchanges with him, demanding he stop the torture of Cavaradossi, before collapsing in devastation at the realisation that she has unwittingly betrayed of her lover, leading into the famous Vissi de Arte (I lived for Art) which she commenced slumped on the floor, almost prostrate in grief.As the aria progressed she rose slowly, meticulously shaping each phrase. The audience held its breath throughout this aria until, at the climax, it could hold back no longer demonstrating its approval with loud cheers and sustained applause.
AUSTRALIAN ARTS REVIEW
TOSCA Teatro di San Carlo Napoli
January 2020
Su tutti una Carmen Giannattasio vivida, passionale, eppure sempre musicalmente rigorosa, nel ruolo del titolo; adeguata nel volume, estesa e duttile al gesto di Renzetti…
Corriere della Sera
Di Carmen Giannattasio siamo ( artisticamente) innamorati da sempre. La sua voce nel tempo si è arricchita di armonici che fanno del suo canto un mantello di velluto gettato alla platea: caldo e squillante, controllato, sempre teatralmente pertinente, maniacalmente attento al significato drammaturgico di ogni parola. E il modo in cui durante le ovazioni per “ Vissi d’arte” ha mantenuto la sua posizione ci ha ricordato Alfredo Kraus al termine di un memorabile “ Pourquoi me réveiller”: i veri artisti fanno così
La REPUBBLICA
Giannattasio sang the title role with astounding dramatic skills and a captivating voice. She was compassionate and full of vitality, able as she was not only to love ardently but also to kill and die, out of love and self-respect. She exploited all the music’s pathos, jealousy, terror and desperation with an amazing richness of colour, a warm timbre and fine sensitivity for the drama.
BACHTRACK
GIOVANNA D’ARCO Teatro Real Madrid
July 2019
La sorprando Giannattasio también dejó patentes sus cualidades..Su personaje, protagonista absoluto, es el más complejo. La música acompaña a sus meditaciones, dudas y tormentos..
El español
Como protagonista, la Giovanna de Carmen Giannattasio. El personaje puede resultar complicado, que lo es, pero la italiana acaba de cantar Norma en Munich, por lo que puede verse a esta heroína verdiana como una hermana pequella de aquella belliniana, que a todas luces lo es. El concepto ha de ser – siempre ha de ser – belcantista y así ha sido la vía de mostrarla por parte de la soprano. Un timbre con cierto punto oscuro y suntuoso hicieron de esta Giovanna un retrato de una mujer más madura y cabal, que no teme a las agilidades y que mostró una línea homogénea con la que dibujarla. Su voz, además, fue la única que en todo momento superó los decibelios de una orquesta y coro nada condescendientes.
Platea magazine
Mención aparte merece la muy aplaudida soprano Carmen Giannasttasio, que se ha cambiado tres veces de traje y las tres ha elegido un look “súper diva” con joyas impresionantes..Vocalmente, la parte más complicada es la suya, siempre en el aire, en exhibición constante de los colores
El Expresso
NORMA Bayerische Staatsoper Summer Festival
June 2019
Carmen Giannattasio, quien defendió el papel protagonista con intensidad y credibilidad..la italiana sorprendió con una emisión sólida, logrando modular su instrumento con cierta naturalidad. Lo mejor de su encarnacion fue la intensidad que puso en cada escena y la intencionalidad con que desgranó el texto.