Ernani – Metropolitan Opera – March 2008

“…he died a very moving — and very musical — death.”
– Jay Nordliner, The New York Sun – March 19, 2008

“Marcello Giordani looked dashing in the title role and sang with gleaming tone … He did score finesse points for singing softly twice in a while.”
– Martin Bernheimer, Financial Times – March 19,2008

Marcello Giordani [as Ernani] showed his customary full Italianate tone in the title role…. his barn-storming, ear-ringing rendition of the stretta to the second act brought the house down.
– Dominic McHugh, – April 2008

Manon Lescaut – Metropolitan Opera – February 2008

“Here was the real thing, an Italian tenor who sang with ringing power and sweeping fervor.”
– Anthony Tommasini, The New York Times – January 31, 2008

“Marcello Giordani [was] a golden-age Des Grieux, handsome and urgent in demeanour, suave in passages of introspection, glorious in outbursts of passion.”
– Martin Bernheimer, Financial Times – January 31, 2008

“And now, we come to the real reason why this Manon Lescaut was a triumph. In two words: Marcello Giordani as Des Grieux has a voice which brings back memories of the greatest tenors of the so-called Golden Age. His voice has the richness, the intonation, and above all the sweep of a Tucker, a Björling, almost a Pavarotti. True, the latter made it look easy, and Giordani impresses you with just what magic he has. But the audience was incredibly impressed, as they should have been. 
It would be useless to choose which parts he made his own. Every note he sung resounded through the Met, every love duet he conquered with the passive Ms. Mattila, and every act was a triumph for this incredible tenor. 

For this voice alone, Manon Lescaut is, with all its faults, the grandest of Grand Opera. Whatever faults this production had, Giordani’s was the tenor of another era, and we were elated and honored by such a voice.”
– Harry Rolnick, – January 30, 2008

“There is no lack of ringing italianità to Marcello Giordani’s thrilling Des Grieux, proving once again how indispensable the tenor has now become to the Met in this repertory.”
– Peter Davis, – January 31, 2008

“Giordani has all the ingredients to fill the role of the Met’s star tenor: a remarkable range, a strong instrument, an attractive stage presence.”
– Anne Midgette, The Washington Post – January 31, 2008

“Giordani has an ability rare among tenors these days to ride Puccini’s melodic line up to a ringing high C.”
– Mike Silverman, The Associated Press, January 31, 2008

"… the Met’s handsome, very traditional staging… seemed a more natural environment for Marcello Giordani, here offering his first local performances of Puccini’s Des Grieux. Giordani’s Chevalier, throbbing with suitable ardor and Italian flavor, reflected the integrity and care with which this revival was prepared and presented…"
– F. Paul Driscoll, Opera News – April 2008

Lucia di Lammermoor – Metropolitan Opera – November 2007

“Marcello Giordani, a fuller-toned, more spinto Edgardo than the norm, was admirably ardent in Act I, properly impassioned in Act II and positively riveting in the tomb scene of Act III.”
– F. Paul Driscoll, Opera News – December 2007

La Damnation de Faust – Tanglewood – August 2007

Marcello Giordani, singing the role of Faust, embraced separated phrases, connecting musical ideas over long stretches that many tenors leave disconnected…. This kind of vocal fluency established his presence throughout the evening. During the opening of “Ange Adoré,” his love duet with Marguerite, he sang seamlessly between vocal registers, then lifted to a clear high C-sharp (above high A), without falsetto, in the next phrase.
– Jeffrey Johnson, Hartfort Courant – August 20, 2007

Andrea Chénier – Teatro Massimo Bellini – Catania – April 2007

Marcello Giordani, who sings the title role, possesses a robust vocal power: he climbs with ease to the peaks of the musical scale giving powerful color to even the highest notes. At the same time, he traces with a fine brush the romantic nuances of the Poet in love with the beauty of antiquity and deceived by the scullions of the ideal. His intimate singing is extremely beautiful, with an inner lyricism which was as compelling as the acclaimed summits of his high notes that reach exciting heights in the duets. (Translated from the Italian)
– Sergio Sciacca, La Sicilia – April 2007

Marcello Giordani played the heroic role of Andrea Chénier, on which he bestowed a noble bearing and dazzling vocal color, particularly as he climbed toward the “squillo” of stentorian high notes. His stage partner, the Maddalena of Martina Serafin, was an ideal foil, with a rich and secure voice. In the duet of the second act, “Eravate possente”, and in the finale “Vicino a te s’acqueta”, the two artists engaged in an actual “vocal dare” which ended, with neither winner nor loser, in resounding applause. (Translated from the Italian)
– Aldo Mattina, Il Giornale di Sicilia – April 2007

Andrea Chénier – Opernhaus Zürich – March 2007

"…. Marcello Giordani thrilled in the punishing title role,singing with a passion,confidence and triumphant ringing top that never let him down-an ideal Chenier, full of sincerity and commitment"
Opera Now, March-April 2007

Simon Boccanegra – Metropolitan Opera – February 2007

Marcello Giordani triumphed in the thankless duties of Gabriele Adorno, his tenor equally impressive in challenges of bravado and introspection.
– Martin Bernheimer, The Financial Times – February 20, 2007

Giordani, a much sought-after tenor these days, was Amelia’s lover, Gabriele Adorno, delivering stentorian high notes that embraced the audience. His entire vocal range rang with raw emotion as Adorno seethes with jealousy for the love between Amelia and her father, then ends up as their partner against political enemies.
The Associated Press – February 20, 2007

Giordani, with his bright tenor gleaming like sabers in sunlight, needed no warming up…
– Clive Barnes, New York Post – February 26, 2007

The tenor seems like an afterthought in this opera… but Marcello Giordani sang the role as if it were major. His sometimes-too-bright sound was toned down in the more intimate moments and he carried himself well.
– Robert Levine, Classics Today – February 27, 2007

.. Marcello Giordani, the evening’s Gabriele, … gave a demonstration of fearless Verdi singing, with stunning, easy top notes both at full cry and at mezzo piano.
Opera News – May 2007

Carmen – Teatro dell’Opera di Roma – December 2006

Marcello Giordani’s is first and foremost a beautiful, strong, yet flexible voice; he is also a true performer who expresses all of José’s fatal passion and degradation: the duets with Carmen are awe-inspiring.
– Mauro Mariani, Il Giornale della Musica – December 2006

Madama Butterfly – Metropolitan Opera – September 2006

There’s no need for any reservation about the singing of tenor Marcello Giordani, an ardent and clarion-voiced Pinkerton…
– Mike Silverman, Associated Press – 26 September 2006

[Marcello Giordani] sang with full-bodied Italianate passion, warm, rich tone and clarion top notes. And I have never seen him act with more involvement and subtlety.
– Anthony Tommasini, The New York Times – 26 September 200

Marcello Giordani… is luxury casting as Pinkerton; it’s a rare pleasure to hear an ardent-voiced Italian tenor of this quality sing his own language with such authority and musical taste.
– Peter G. Davis, New York Magazine, October 9, 2006

Marcello Giordani, who has been moving methodically to the front of the thin ranks of Italian tenors, gave a strong performance as Pinkerton, his slightly forced but penetrating voice following the contours of Puccini’s musical prose with inborn grace. As an actor, he was especially good in his exchanges with Dwayne Croft’s Sharpless; he captured the thoughtlessness of the Quiet American, while Croft, restrained and eloquent, registered the audience’s unease.
– Alex Ross, New Yorker – October 2, 2006