Turandot – Teatro Massimo Bellini – March 2004

Marcello Giordani plays the role of prince Calaf with heroic scenic presence and a power of expression which combines a pensive romantic introspection … with vigorous tenor heft. He launches into the most difficult sections of the score with absolute confidence, and his singing is always bright and clearly focused, with that profound spontaneity which one so rarely hears on the stage … [His] “Nessun dorma” was not the vocal display exploited by the publicity agents. It was once again the expression of the internal struggle between love and death. (Translated from the Italian)
– Sergio Sciacca, La Sicilia, March 19, 2004

Calaf [is] well portrayed by a Marcello Giordani with ringing voice and unafraid to tackle the highest notes. (Translated from the Italian)
– Francesco Brancati, Gazetta del Sud, March 19 2004

Benvenuto Cellini – Metropolitan Opera – December 2003

“Marcello Giordani is an immensely appealing Cellini, a poet as well as a man of action, and he sings the music with aristocratic elegance. Every Berlioz tenor needs an easy, ringing upper range, and Giordani always delivers the goods …”
– Peter G. Davis, New York Magazine, December 22, 2003

“Even though Marcello Giordani, in the title role, was driven to tonal dryness by the cruel tessitura, his burnished tenor put him miles ahead of any Cellini I’ve ever heard (even Nicolai Gedda, who made the Colin Davis recording a few years too late). With his dashing stage presence, Giordani was within striking distance of being ideal in the part.”
– David Patrick Sterns, Andante, December 16, 2003

“Marcello Giordani conquered Cellini’s trying tessitura honorably, with power and even some finesse. …”
– Martin Bernheimer, Financial Times, December 16, 2003

“As the hero, tenor Marcello Giordani cut a dashing figure and sang well, unfazed by the many high notes the part demands (he didn’t shy away from the optional D flat in the first act trio).”
– Mike Silverman, Associated Press, December 5, 2003

“Marcello Giordani Insuperabile”: “Nel ruolo del protagonista, Marcello Giordani ha brillato per autorità vocale e scenica. Il tenore siciliano in splendida forma, ha sfoggiato con facilità il registro acuto del suo strumento e soprattutto ha saputo unire ad un ammirevole controllo della sua voce un’intelligenza musicale non commune.”
“Marcello Giordani Unequaled”: In the title role, Marcello Giordani distinguished himself for his vocal and stage presence. The Sicilian tenor, in splendid form, displayed with ease the high register of his instrument. In particular, he was able to combine an admirable control of the voice with an uncommon musical intelligence.” (Editor’s translation)
– Frank Corsaro, America Oggi, December 2003

“…it’s hard to think of any other tenor who could have performed the role so creditably…. Giordani certainly wasn’t all Italianate bluster either, mustering some delicate mixed-voice musings in “Sur les monts les plus sauvages…”
Opera, February 2004

Tosca – Opéra Bastille – September 2003

“Le très beau ténor à la voix chaleureuse Marcello Giordani incarne … un Mario Cavaradossi de grande classe.”
“The handsome tenor with the glowing voice, Marcello Giordani, embodies a first class Mario Cavaradossi.”] (Editor’s translation)
– Philippe Herlin, ConcertoNet.com, September 2003

Turandot – Torre del Lago – July 2003

“Giordani è un Calaf the canta e interpreta … Al suo Calaf non offre una vocalità impetuosa, ma esplora le morbidezze della tessitura, grazie alla sua formazione belcantista. Cio gli consente di mettere in evidenza canto duttile, sensibilità e timbro caldo.”
“Giordani is a Calaf who sings and interprets. Thanks to his bel canto background, rather than lending his Calaf a heroic sound, he explores the suppleness of the tessitura. This allows him to display a pliant sound, sensitivity and a warm timbre.” (Editor’s translation)
– Lisa Domenici, Il Tirreno, July 29, 2003

Les Vêpres siciliennes – Opéra Bastille – June 2003

“Marcello Giordani … gave a good, robust account of Henri’s music, capping his prison aria with a ringing and absolutely secure top B.”
– Rodney Milnes, Opera, September 2003

Guillaume Tell – Opéra Bastille – March 2003

“Marcello Giordani tackled the dauntingly high tenor role in vigorous full voice. …”
– David Stevens, International Herald Tribune, March 26, 2003

“Marcello Giordani, …one of the most compelling tenors on stage today, was a noteworthy Arnold; his hearty high Cs in the Act Four aria “Asile héréditaire” were impressive.”
– Frank Cadenhead, Andante, March 2003

“Marcello Giordani’s Arnold was more Duprez than Nourrit, fearless, strong, but never unnecessarily stentorian. His sensitively shaped last-act aria stopped the show.”
Opera, July 3003

Il Pirata – Metropolitan Opera – October 2002

“The one saving grace is Marcello Giordani as the pirate Gualtiero. In terms of ringing tone, heft, security, and sheer vocal glamour, he far outshines such overhyped tenors as Roberto Alagna, Salvatore Licitra, and José Cura in this repertory… .”
– Peter G. Davis, New York Magazine, December 22, 2003

“… Mr. Giordani of course has bel canto in his background … you basked in the sheer, throbbing Italianness of his sound, and his high C’s were … fearless.”
– Anthony Tommasini, The New York Times

“Leading tenor, Marcello Giordani, as the pirate referred to in the title, was a joy, with his passionately deployed, burnished voice that miraculously takes on more sumptuous color in the high C zone.”
The Philadelphia Inquirer

“[Giordani was] superb … fearlessly tossing off notes above high C in true swashbuckling fashion …”
– Associated Press

“She [Renée Fleming] is partnered with heroic fervor by Marcello Giordani as the swaggering hero who sails effortless high Ds after surviving perilous high seas.”
Financial Times of London

Un Ballo in Maschera – Washington National Opera – April 2002

“Italian tenor and Met star Marcello Giordani is at the top of his game as Riccardo. Washington audiences have enjoyed him before in productions of ‘Romeo et Juliette’ and ‘Simon Boccanegra.’ But Riccardo is an industrial strength role, requiring stamina and power as well as acting ability. Mr. Giordani coaxes from his luxuriously silky voice the tenderest of pianissimos in one scene and lets loose with chandelier-rattling passion in the next. His is an instrument of great character that gets better and better as he tackles tougher roles and places him … among the superstars in a rising generation of talented young singers.”
The Washington Times

“May [Marcello Giordani] continue to grow and flower: We need such tenors.”
The Washington Post

Adriana Lecouvreur – Carnegie Hall – March 2002

“Marcello Giordani sang like a god … he gave a rock-solid performance at an ideal pitch of fortissimo passion.”
– Anne Midgette, The New York Times

“His singing was ravishing.”
– Howard Kissel, The New York Daily News

“Marcello Giordani also impressed as Maurizio, the Count of Saxony, a role sung by Enrico Caruso in the opera’s premiere. Giordani’s voice has long had a pleasant color, and his tenor has broadened to where he now possesses a fine squillo, so important in the standard roles of the Italian repertoire. His entrance aria, ‘La dolcissima effigie sorridente’ (‘The sweetest smiling representation’) was an example of Italianate singing at its best.”
– Ronald Blum, Associated Press

“Marcello Giordani is sounding more and more like the Italian tenor we’ve been waiting for, and his Maurizio was as ringing and ardently phrased as any I’ve heard in the role, including Franco Corelli.”
– Peter G. Davis, New York Magazine