ANDREA CHÉNIER – MACERATA OPERA – July 2005

[A] much-awaited debut was that of Marcello Giordani in the title role. The renowned tenor has all that’s needed for Chénier: silvery timbre, ringing high notes, an extroverted and generous temperament. (Translated from the Italian)
L’Opera – September 2005

La Bohème – July 2005

Marcello Giordani is a tenor who knows how to shape both fervent and soft tones. As the poet Rodolfo, especially when faced with his love for Mimi, he wavers between his desire for freedom and [his sense of] responsibility. And he can portray this conflict convincingly. Their first meeting, and the musically seductive declaration of love, are stunningly beautiful. (Translated from the German)
Marcello Giordani ist ein Tenor, der auch innige und leise Töne zu gestalten weiss. Als Dichter Rodolfo, schwankt er angesichts seiner Liebe zu Mimi am stärksten zwischen Freiheitsdrang und Verantwortung. Und er vermag diesen Zwiespalt glaubhaft darzustellen. Die erste Begegnung der beiden und die musikalisch betörende Liebesbeteuerung ist von hinreissender Schönheit.
Der Zürcher Oberländer – 5 July 2005

Marcello Giordani’s Rodolfo has seen a fair bit of life already, yet that hasn’t dimmed his taste for no-holds-barred ardor. His is a smoky, smoldering tenor with a vehement, untiring upper register.
Bloomberg.com, July 5, 2005

The very expressive and impressive Rodolfo of Marcello Giordani … leapt quite frequently and suddenly from a soft parlando to an impassioned powerful tenorial sound, which he controlled most beautifully. (Translated from the German)
Der sehr ausdrucksstarke und eindrückliche Rodolfo von Marcello Giordani etwa springt so oft unvermittelt vom leichten Parlando in einen leidenschaftlich starken tenoralen Ton, den er aufs Schönste beherrscht.
– Von Thomas Meyer – Tages-Anzeiger, 5 July 2005

Marcello Giordani is a slightly mature Rodolfo, but there is no escaping the fact that his golden voice is ideal for the role. “Che gelida manina” was sung as if he meant it, with concern for Mimi’s condition in every corner of his voice. The duets with Mimi were as good as they get.
– Michael Sinclair – The Opera Critic, July 2005

Un Ballo in Maschera – Metropolitan Opera – April 2005

Marcello Giordani was a compelling King Gustav III. His smooth tenor climbed the emotional peaks as he portrayed the amorous Swedish monarch.
Associated Press – April 2005

… in the role of Gustavo III, [Giordani] offered one of the best performances at the Met. His “forte” have always been the secure and ringing high notes, and here he demonstrated it abundantly once more, singing with great assurance. In the duet with Amelia [Deborah Voigt], the “competition” was by no means an easy one, and Giordani tackled it like a true champion. Better still, in the passages requiring a more subtle vocal delivery to express either irony or bitterness, Giordani was equally convincing. (Translated from the Italian)
L’Opera, May 2005

Il Trovatore – Turin – March 2005

Marcello Giordani is a Manrico with a ringing voice, who drew a roar from the audience when he fired off a beautiful high note at the end of the ultra-famous cabaletta of the second act. (Translated from the Italian)
La Stampa – March 4, 2005

Il Trovatore – Houston – January 2005

Giordani gave his first portrayal of Manrico. His characterization had burly strength and his full-out singing was strong and galvanizing… But his best work came at the end in his exquisitely nuanced exploration of Manrico’s whirlwind of feelings about the dying Leonora.
The Houston Chronicle – January 23, 2005

… Seizing the tenor role with gusto was Marcello Giordani, also currently shifting focus from the bel canto roles to more dramatic ones such as this. He certainly has the squillo, and balances this with effective softer singing and generally rounded phrasing. His diction is superb, a lesson to all.
Opera Now

Marcello Giordani gave a stirring account of Manrico’s “Di quella pira,” sung in the original key, with repeat, and capped by a thrilling final high C. Giordani sounded like the leading Verdi tenor that he is.
Opera News, April 2005

Tackling his first ever Manrico, Marcello Giordani performed with plenty of oomph…. His in-key “Di quella pira” boasted a tremendous (and endless) final high C any tenore di forza would covet.
Opera, April 2005

Manon Lescaut – Berlin – December 2004

…one admires his self-assurance, his commitment and his virile theatrical impact, with a timbre of heroic color… (Translated from the Italian)
L’Opera – February 2005

Manon Lescaut – Opernhaus Zürich – October 2004

Direct, impulsive, with radiant tenorial power, which today need fear little competition, Marcello Giordani builds a convincing Des Grieux. (Translated from the German)
Geradlinig, impulsiv, mit tenoraler Strahlkraft, die heute wenig Konkurrenz zu scheuen hat, gestaltet Marcello Giordani den Des Grieux überlegen.
Der Landbote – October 18, 2004

… Des Grieux has in Marcello Giordani an interpreter who gives himself body and soul into his role and identifies with it. From him emanate the great emotions which he endows with gripping tenorial colors. (Translated from the German)
Des Grieux, in Marcello Giordani einen Interpreten hat, der sich mit Leib und Seele in seine Rolle hineingibt and sich mit ihr identifiziert. Von ihm kommen die grossen Emotionen, und er stattet sie mit ergreifenden tenoralen Farben aus.
Neue Zürcher Zeitung – October 18, 2004

… his pliant radiant sound blooms in Puccini’s supple melody, and he embodies, in essence, what Puccini demands of him: a tenor. (Translated from the German)
… Sein geschmeidiger strahlender Klang blüht kraftvoll auf in Puccinis elastischer Melodik, und er verkörpert in nuce, was Pucccini von ihm verlangt: einen Tenor.
Tages-Anzeiger – October 18, 2004

Admirable the vocal gleam up into the exposed high notes, admirable also the articulation completely based on the flow of the language, which lends his singing life and color. (Translated from the German)
Bewundernswert der stimmliche Glanz bis hinauf in die exponierten Spitzentöne, bewundernswert auch die ganz dem Fluss der Sprache nachempfundere Artikulation, welche seinem Gesang Leben und Farbigkeit verleiht.
Zürichsee-Zeitung – October 18, 2004

I Vespri Siciliani – Zurich – June 2004

Marcello Giordani conquers the role of Arrigo… masterfully, and lends his voice just enough pressure to achieve tension without sacrificing the elegance of the musical line.(Translated from the German)
Marcello Giordani bewältigt die Partie des Arrigo… souverän und verleiht seinem Tenor gerade so viel Druck, dass er Spannung gewinnt, ohne die Eleganz der Linienführung einzubüssen.
Neue Zürcher Zeitung, May 25, 2004

His bright high notes were never artificially produced, but developed naturally from the musical line without excessive pressure, giving his Arrigo a true belcanto luster.(Translated from the German)
Die klaren, nie aufgesetzt wirkenden Spitzentöne entwickelten sich ohne übermässigen Druck natürlich aus der Gesangslinie und gaben seinem Arrigo geradezu belkantesken Glanz.
Das Opernglas, July-August 2004

The tenor role of the rebellious Arrigo is considered to be one of the most difficult, with extreme highs and a constant alternating between heroic poses and glowing love. Marcello Giordani amazed with the naturalness with which he colored this demanding role vocally and shaped it into a gripping, deeply motivated character. (Translated from the German)
Die Tenorpartie des aufständischen Arrigo gilt als seine der schwierigsten, mit extremer Höhe und einem ständigen Schwanken zwischen heldischer Pose und glühender Liebe. Marcello Giordani verblüffte mit der Selbstverständlichkeit, mit welcher er diese anspruchsvolle Partie stimmlich einfärbte und zu einer ergreifend tiefgründigen Figur gestaltete.
Der Zürcher Oberländer, June 2004

… Marcello Giordani made one sit up and listen: a powerful tenor with obvious unlimited reserves in the upper range, subtle pianos and beautiful melodious mezza voce.(Translated from the German)
… Marcello Giordani aufhorchen: Ein Kraftvoller Tenor mit offenbar unbegrenzten Reserven in der Höhe, subtilen Piani und aschönem, wohlklingendem mezza voce.
Luzerner Zeitung – May 25, 2004

The Sicilian Marcello Giordani delighted with pure, charming belcanto and a flexible tenor voice which is also capable of generating great emotional outbursts without strain. (Translated from the German))
Der Sizilianer Marcello Giordani begeisterte mit purem, bezauberndem Belcanto und einer wandlungsfähigen Tenorstimme, die auch fähig ist, grosse emotionale Ausbrüche ohne Forcieren zu gestalten.
Die Südostschweiz – May 28, 2004

La Gioconda – Carnegie Hall – April 2004

The most authentic ingredient of this La Gioconda was the gloriously sung Enzo of Marcello Giordani, an Italian tenor who truly conjures up the past with his liquid tone, shapely phrasing, easy control of dynamics, and gleaming top notes—I didn’t miss Franco Corelli, Carlo Bergonzi, or Giuseppe Di Stefano, even for a second.
– Peter Davis – New York Magazine, May 10, 2004

[Mr. Giordani] delivered a sensational “Cielo e mar.” The sound was bright, exciting and involved; the aria was paced with a showman’s sense of drama; and Mr. Giordani maintained this level for the rest of the evening, showing again, as he did in Opera Orchestra’s “Adriana Lecouvreur” two years ago, that he has the goods to be a truly major figure in the opera world.
– Anne Midgette – The New York Times, April 24, 2004

The crowd reserved its earthquake eruption, however, for the “Cielo e mar!” of Marcello Giordani, singing gamely over indisposition to create a commanding presence as Enzo. With his voice sounding little the worse for a cold, the tenor focused a ringing tone but also managed some controlled soft singing, with a nice diminuendo on “Vi conquide, o sogni d’or!” His words as well as his musical phrases all meant something, and he got into the spirit by pulling a dagger on Gioconda just before Laura’s voice indicated she was still alive.
– John W. Freeman – Opera News Online, July 2004

Marcello Giordani [sang] with astonishing finesse, sensuality and sweep. Even with a cold, he sustained reassuring elegance and eloquence.
– Martin Bernheimer – Opera, July 2004

It was announced before the start of the opera that tenor Marcello Giordani was suffering from the end of a cold; if so, he should keep it: he sounded magnificent. … his voice ringing out brightly, clearly and with great virility from top to bottom.
– Robert Levine – Classics Today.com