Tosca – Teatro dell’Opera, Roma – April 2010

Cavaradossi is the star of the moment at the Metropolitan (and not only), Marcello Gordani: very bright timbre, volume to fill the theatre and to elicit applauses that stop the show, perfect in diction and phrasing, as well as in the difficult “mezza voce”. Used to sing in the enormous cavea of the Metropolitan, he gives us a sterling “Mario”, superior to what is normally to be found in the field. (Translated from the Italian)
– Hans Sachs, Il Velino. it – April 2, 2010

La Bohème – Teatro Massimo, Palermo – February 2010

Marcello Giordani is a Sicilian tenor at the height of his career, with a beautiful tone of lyrico-spinto and an excellent extension with incredible high notes, highly regarded in his vast repertory. As Rodolfo, a role he has sung since the ‘80s, he sustained with confidence the famous powerful high C of “speranza” in the aria “Che gelida manina”… investing the character with the right amount of credibility within the context of the drama….
(Translated from the Italian)
– Gigi Scalici, Liricamente – March 13, 2010

Simon Boccanegra – The Metropolitan Opera – January 2010

The most exciting contribution came from Marcello Giordani as Gabriele Adorno (formerly Domingo’s assignment). At least this tenor proved that power need not preclude introspection.
– Martin Bernheimer, The Financial Times, January 19, 2010

… the role of Gabriele Adorno, the hotheaded aristocrat who loves Maria, suits him, and he sang with ardor and big, throbbing top notes.
– Anthony Tommasini, The New York Times – January 19, 2010

Marcello Giordani was at his absolute best as Gabriele Adorno, the role Domingo sang until only a few years ago. He excelled in the solos but modulated his rich voice in this opera’s abundant and glorious ensembles.
– Howard Kissel, New York Daily News – January 28, 2010

Marcello Giordani, as the Genoa nobleman and Amelia’s fiancé, Gabriele Adorno, was in excellent vocal form Saturday…. His bright lyric tenor, with its clean bel canto lines and smooth legato connecting his low-and-high registers, is well suited for Verdi roles, and he had no trouble soaring above the orchestral accompaniments.
Musical Criticism – Telecast of February 9, 2010

Turandot – The Metropolitan Opera – October 2009

He sang phrases with plush Puccini-tenor warmth and dispatched some ringing top notes, including the climactic high note of the hit-tune aria “Nessun dorma.”
– Anthony Tommasini, The New York Times – Oct. 29, 2009

Matching [the soprano] in allure was tenor Marcello Giordani as Calaf, the prince who finally melts Turandot’s heart. Most of that heat was generated by his rich tenor, with a trumpeting brilliance on top. True, he occasionally ricochets past exact pitch, but that’s a fair trade-off for such passionate, Italianate singing. His red-blooded “Nessun dorma” won bravos even before the music finished.
James Jordan, New York Post – November 2, 2009

Tosca – Royal Opera House – July 2009

“[Marcello Giordani] interacted beautifully as Tosca’s lover, yielding to her but also knowing how to handle her when he had to free himself to deal with the political matters on his mind. His defiant Voltaireian of Act II was exciting, and in Act III, as the condemned man who has never loved life so much, he was deeply moving. Giordani has been seen infrequently at the Royal Opera since his debut in 1995 which is a shame, because tenors of his caliber are few and far between. He has a robust voice with easy, thrilling top notes, but he was also capable of some beautiful pianissimo phrases in Act III, making for a complete and satisfying performance of this great tenor role.
– John Woods, Musical Criticism.com – July 12, 2009

“Marcello Giordani is a strong, sensitive Cavaradossi… His cry of Vittoria! in Act Two may hurt the eardrums, but later on his famous starlight aria, E lucevan le stelle , is powerful and true.”
– Mark Valencia, WhatsOnStage – July 2009

“Marcello Giordani, a sadly infrequent guest here in London, is the Met’s tenor of choice, and it’s easy to hear why — this is a powerful, juicy, ringing voice but it is much more bel canto in style than the usual bulldog can belto in this role, and for once you could actually imagine this aristo turned Voltairean as a painter. He and Gheorgiou seemed to have a natural chemistry, the often stagy love scenes actually convincing, and he passed what to my mind is the true test of a great Cavaradossi, with a tender, finely phrased account of ‘O dolci mani.’”
– Melanie Eskenazi, Opera Today – July 11, 2009

It was left for Marcello Giordani as Cavaradossi to inject a sense of passion to the production. This he does with a performance of romantic ardour throughout and a series of thrilling top notes in Act 2. For me, his performance was the highlight of the evening.
– Christian Hoskins, MusicOMH – July 2009

Ernani – Teatro Massimo Bellini – April 2009

An heroic Marcello Giordani… in the truest sense of the word…. His Ernani is passionate and tender, human and pugnacious: the kind of man of lofty emotions dear to Byron, to Foscolo and Pushkin. Marcello Giordani has the “physique du rôle”, and a bright and powerful voice that can rise and dominate the scene without effort. There are not many voices today that possess such power, such extension, such nuanced coloring. (Translated from the Italian)
– Sergio Sciacca, La Sicilia – April 24 2009

La Damnation de Faust – Metropolitan Opera – November 2008

The tenor has vastly expanded his acting and vocal palette in recent years. At 45, Giordani exuded both Faust’s terror and tenderness as he transforms the desperate, solitary scholar into an overwrought lover and, finally, a broken man seeking solace in his immense hymn to nature, which Giordani sang with noble, heartfelt intensity.
– Verena Dobnik, Associated Press – November 8, 2008

Marcello Giordani was a rather Italianate Faust… but sang thoughtfully and consistently. And, no surprise, he ably dealt with the score’s high notes, robustly or delicately, as he saw fit.
Musical America.com – November 10, 2008

Tenor Marcello Giordani plays a passionate Faust, and characterizes both the bitterness of the aged and the hot-headedness of youth.
The Epoch Times, November 17, 2008

La Forza del destino – Wiener Staatoper – October 2008

Marcello Giordani sang Alvaro in Vienna for the first time and completely fulfilled the demands that this role imposes. His voice, in all of its aspects, has further expanded – resonant and firm ‘piani’, ‘forte’ tones evolving from the tension, and attractive phrasing. Already in the first act, the artist captivates us in the impressive duet with Leonora “Ah per sempre o mio bell’angiol” – full of impetus and drama. His big aria in Act II “La vita è inferno all’infelice” is in the best Italian style, especially the wonderful piano in “O tu che in seno agli angeli”, something that one unfortunately seldom hears today. Equally faultless are the attack and outbursts in the duets with his adversary Carlos. Particularly noteworthy is the duet in Act IV “Le minacce, i fieri accenti”, which ends in a dazzling crescendo. All together a very thrilling performance, and an excellent interpretation of the role. One cannot ask for more. (Translated from the German)
Der Neue Merker, October 20, 2008

Marcello Giordani’s Alvaro was convincing, with beaming high notes and a wealth of nuances. (Translated from the German)
[Marcello Giordanis Alvaro überzeugt mit strahlenden Höhen und Nuancenreichtum.]
Wiener Zeitung – September 8, 2008

Edgar – April 2008

Among a handful of top-level spinto tenors, Giordani is well suited to Edgar, a role he was singing for the first time. An Italianate voice with ping is needed to soar through the thick orchestrations, and Giordani had power to spare. He earned a big ovation for his second-act aria “Orgia, chimera dall’occhio vitreo.”
– Ronald Blum, Associated Press – April 14, 2008

Singing this role was Marcello Giordani, the Italian tenor who has just wrapped up a run of Verdi’s Ernani at the Met. In Edgar, he was everything he is touted as: virile, bold, and very Italianate. He was a tenorial athlete. He can put a sob in his voice, a song in his heart — all of it…. he proved the real McCoy — a real Italian tenor.
– Jay Nordlinger, The New York Sun – April 15, 2008

With his passionate delivery and solid, ringing high notes, the tenor Marcello Giordani invested the title role with a nobility its creator failed to provide.
– Steve Smith, The New York Times – April 15, 2008