Don Carlo – Teatro Regio di Torino – June 2006

The title role was performed by Marcello Giordani. After having seen and heard him several times exclusively as Calaf, I must admit that only now do I believe that I have come to know his true vocality. Giordani immersed himself perfectly in the role of the Spanish prince, offering an intense and fitting portrayal, which emphasized the neurotic personality of the character; but above all he displayed a vocal style perfectly adapted to the role: to a bright, ringing, almost brazen high register, he added precise intonation and a clean, perfectly articulated phrasing. (Translated from the Italian)
– Danilo Boaretto, Opera Click – 2 July 2006

In the title role, Marcello Giordani proved once again that he is one of the best lirico spinto tenors of his generation. His secure, homogeneous voice, warmly nuanced with a varied palette of colors, sounds perfect throughout the range; his interpretation was notable especially in the duets with baritone Roberto Frontali.
– Silvia Lugari, The Opera Critic – 25 June 2006

Manon – Bilbao – March 2006

Marcello Giordani shone in the last scenes, singing a “Rêve” in which the voice highlighted his splendid high register. He put passion in the duets and, since his voice is ideal in the higher tessitura, his best moments were the passionate ones.
El Correo, April 5, 2006

The excellent interpretation of Giordani, with his expressive pianos…, his good diction, the powerful strength and color of his high notes, and, in short, his well shaped singing, not only reclaims the role of Manon’s lover, but opens the way [for the soprano] to feel much more involved in her character, which is evident in all the duets, … One can also say that… Giordani’s physical and vocal performance, makes the musical and dramatic context of the opera appear more unified… (Translated from the Spanish)
Deia – April 2, 2006

La Gioconda – Catania – February 2006

Of the male voices, Marcello Giordani’s stands out for its vigor and beauty: heroic and robust, with the kind of expressive ease in the various tonalities which suit a master of the stage. (Translated from the Italian)
La Sicilia, February 23, 2006

Manon Lescaut – Parma – December 2005

[Marcello Giordani] brought down the house with his impassioned rendition of Ah Manon, mi tradisce il tuo folle pensier; his Pazzo son in the third act was touching, and by the time [Manon and Des Grieux] moved to the red desert, the two singers had grown perfectly in tune with each other, and performed a beautiful fourth act.
– Silvia Luraghi, The Opera Critic – December 20, 2005

Carmen – Metropolitan Opera – November 2005

Giordani is one of the few tenors who can carry off Don Jose in the huge Met auditorium, able to sustain high notes that ring. His acting was somewhat stiff at the start but grew stronger during the performance. His “Flower Song” was touching, and he saved his best for the final act confrontation with Carmen.
– Ronald Blum, Associated Press – November 20, 2005

… Marcello Giordani [gave]a harrowing account of Don José’s degradation and lethal rage. Giordani portrayed José as a prig undone by his appetites, and his best singing combined vigor and a supple sense of line in ideal proportion. I have never seen José’s final encounter with Carmen more wrenchingly played.
– Marion Lignana Rosenberg, Newsday.com – November 23, 2005

[Giordani’s]performance Saturday afternoon was nothing short of electrifying and his voice was nothing short of awe-inspiring. This tenor belted out his Don Josè with the kind of power and depth of understanding of his character’s personality that grabbed the audience and held on and never let go. He has the kind of tenor voice that fills a hall without ever sounding like he is pushing or screaming at the audience, and at the same time he can control his voice to reach inside and draw out the most senditive libretto and sing it with conviction and infectious emotionalism in the most tender of ways as he did when confronted with the loss of Carmen in the final act.
– Paul Joseph Walkowski, OperaOnline.US – November 26, 2005

Guillaume Tell – Opera Orchestra of New York – November 2005

…after the Italian tenor Marcello Giordani, singing the treacherous role of the tormented Swiss patriot Arnold, gave a fearless account of the cabaletta “Amis, amis, secondez ma vengeance,” his rallying cry to vanquish the Austrian occupiers of 13th-century Switzerland, soaring over the orchestra with clarion top notes and thrilling high C’s, the audience threatened to stop the show with a frenzied ovation. So with a nod from Ms. Queler, Mr. Giordani sang the aria again.
– Anthony Tommasini, The New York Times – November 15, 2005

Mr Giordani surpassed expectations as Arnold. The voice is a bright, true Italian tenor with plenty of heft, and the top notes seem more easily produced than ever. After a long, strenuous evening, in which Mr Giordani proved himself both an heroic and sensitive Arnold, sometimes scaling the voice back to an intimate piano, he tackled his last act aria and cabaletta with passion and great magnetism. The long, legato lines of the aria were handsomely sung and the cabaletta, …with its high Cs… and final, long-held C were met with such thunderous applause that Mr Giordani repeated the cabaletta to roaring approval. I dare say New York has heard nothing like it since Pavarotti first dazed the Met in Donizetti’s “La fille du regiment,” 35 years ago.
– Robert Levine, Classics Today – November 2005

Un Ballo in Maschera – Teatro Massimo Bellini – October 2005

The operatic cast of opening night was led by Marcello Giordani in the role of the governor: beautiful voice, of uncommon brightness, capable of reaching the highs of the tenorial range without effort, and with an absolute clarity of diction that brings to life the pathos of the drama.
La Sicilia – October 22 , 2005

Guillaume Tell – Wiener Staatsoper – September 2005

The revelation is tenor Marcello Giordani, who manages the hair-raising high notes of Arnold with great precision and clarity.(Translated from the German)
Die Entdeckung ist der Tenor Marcello Giordani, der die halsbrecherischen Spitzentöne des Arnold mit grösster präzision und klarheit bewältigt.
Kurier – 21 September 2005

Marcello Giordani saw to it that practical straightforwardness and brash display of power received their musical due. Much as his Arnold has to falter as a character, he presented himself vocally as solid as a sword of steel. (Translated from the German)
Da sorgte Marcello Giordani dafür, dass zupackende Direktheit und forsche Kraftentfaltung zu ihrem musikalischen Recht kamen. So sehr sein Arnold auch charakterlich zu wanken hat, stimmlich präsentierte er sich so solide wie ein stählernes Schwert.
Der Standard – 20 September 2005

Marcello Giordani portrayed Arnold with…gleaming high notes. (Translated from the German)
Marcello Giordani präsentierte sich als Arnold mit…strahlenden Höhen.
Weiner Zeitung – 20 September 2005

Turandot – Torre del Lago – July 2005

[Calaf was sang by] Marcello Giordani, a tenor of remarkable vocal boldness, with a sparkling high register, and good diction…. His performance was rewarded by the enthusiasm of the audience that requested, it goes without saying, an encore of “Nessun dorma”, granted by the generous singer. (Translated from the Italian)
L’Opera – September 2005