Les Huguenots – Carnegie Hall – April 2001

“Marcello Giordani … wielded his immense voice with tremendous authority, accuracy and solidity. The air was filled with him.”
The New York Times – April 28, 2001

“The central attraction had to be the sympathetic Sicilian tenor Marcello Giordani, who impersonated the noble Raoul de Nangis. It is an excruciatingly difficult role that crests at a top D, often hangs around C … Giordani blasted the high notes with ringing force and reasonable ease … [He] gave a remarkably stirring performance on his own fearless terms.”
Financial Times – April 26, 2001

Verdi Requiem – Carnegie Hall – April 2001

“The tenor Marcello Giordani … had ringing tenorial top notes and brought real Italianate style to the ‘Ingemisco,’ an unabashed Italian aria despite its Latin text.”
The New York Times

La Bohème – Metropolitan Opera – October 2000

“When Mr. Giordani sings at full volume, one hears an echo of Placido Domingo’s timbre and style; but when he takes down the volume, he produces a drier, more soft-edged sound that he used to fine effect in, for example, the final phrase of ‘Che gelida manina.'”
The New York Times – October 31, 2000

Luisa Miller – San Francisco Opera – September 2000

“The brilliant star of the show, however, was prime-time Italian tenor Marcello Giordani as Rodolfo, who has the one great aria of this opera, ‘Quando le sere al placido,’ which he sang memorably. Giordani seems to have found new mastery and poise and his fine, warm Italian voice has remarkable ease in the upper range, achieved now without forcing and with lustrous tone.”
Opera Now

“… Marcello Giordani’s richly hued tenor instrument. Last gracing SFO stage in La Favorite in 1999, Giordani made his role debut with a coveted combination of passion and eloquence that is rarely found in today’s tenors.”
Financial Times

“Tenor Marcello Giordani, a Byronic Rodolfo in Ramicova’s costumes, supplied the major surprise of the evening. When last heard in ‘La Favorite’ in 1999, his was a lyric instrument. A year later, he has invaded spinto territory (this was a role debut) and claimed it for his own. Saturday’s juicy, inflamed performance of ‘Quando le sere al placido’ left no doubt he has graduated to a more dramatic repertoire. The singing was pure pleasure.”
San Francisco Examiner

Tosca – Michigan Opera Theatre – May 2000

“Marcello Giordani … campe un Henri en tout point excitant … La voix est bien conduite et dispense de beaux moments …”
“Marcello Giordani portrays an Henri exciting in every respect. The voice is well managed and delivers beautiful moments …” (Editor’s translation)
– Christian Peter, ForumOpera.com

“Giordani is making his debut in the role in Michigan Opera Theatre’s current production, and years from now, long after he has sung the part in the world’s leading opera houses, those fortunate enough to have been in attendance at Saturday’s opening night will be able to say they heard it first in Detroit. Giordani brings everything one could ask for to the part … The voice is brashly confident, secure of pitch, even and expressive through all registers and all dynamic levels, from a feathery pianissimo to an earth-shaking forte.”
The Free Press (Detroit, MI)

Lucrezia Borgia – Carnegie Hall – February 2000

“Giordani sang brilliantly, with pinging top notes, power to spare, vital expression and, where needed, a sensitive legato. One was grateful that his death scene was extended with an arioso composed by Donizetti six years after the premiere.”
Newsday (New York, NY)

“With his open, bright tone, clear words and unfussy phrasing, Giordani has become a valuable addition to the Italian tenor ranks …”
The Financial Times

La Favorite – San Francisco Opera – September 1999

“With true lyric tenors ever in short supply, Marcello Giordani stands out boldly … his performance as Fernand had remarkable sensitivity and vibrancy.”
The Sun Sentinel (San Francisco, CA)

“Equally satisfying in this purely selfish pleasure of beautiful singing – Marcello Giordani. The voice, sufficiently supple, pleasantly timbered, charms and seduces … Giordani possesses an abundant sense of the color, dynamic and nuances of bel-canto.”
Opera International

La Traviata – Metropolitan Opera – January 1999

“Marcello Giordani … has become a superb Alfredo. His timbre is fresh and bright, and his phrasing and coloration have an appealing flexibility and musicality. There were moments … when his way with the musical line called to mind a young Plácido Domingo.”
– Allan Kozinn – The New York Times – January 1, 1999

Simon Boccanegra – Washington National Opera – October 1998

“As Amelia’s love interest, Gabriele Adorno, tenor Marcello Giordani already has arrived … Mr. Giordani is superb in the role of a revolutionary torn between the love for his compatriots and the love of a beautiful woman. His well-supported voice at once possesses the romantic gentleness to woo Amelia and the power to inflame his fellow revolutionaries. Could Mr. Giordani be the Fourth Tenor, ready to step in when one of the mighty three retires? Stay tuned.”
The Washington Times