Critical Acclaim

Salzburg Festival - Macbeth (Peter Stein/Riccardo Muti)

Buen nivel, por último, el demostrado por…, y excelente el Macduff de Giuseppe Filianoti con su comprometidga "O figli miei."

                                                                      Ópera Actual, October 2011

Another fine performance came from Italian tenor Giuseppe Filianoti as Macduff, who lament for his slain children (whose corpses lay at his feet) and oppressed homeland was beautifully taken. (It's worth noting that Filianoti will be returning to Lyric Opera this fall as Edgardo in "Lucia di Lammermoor.")

                                       John von Rhein, Chicago Tribune , August 30, 2011

As Macduff, tenor Giuseppe Filianoti was clear and poignant in the aria mourning his wife and children (their bloody bodies were carried onstage).

                               Heidi Waleson, The Wall Street Journal, August 24, 2011

As Macduff, Giuseppe Filianoti sang beautifully while weeping tragically over his dead children.

                               Catherine Hickley, Bloomberg.com News, August 4, 2011

There was exemplary work from Giuseppe Filianoti (Macduff) and Dmitry Belosselskiy (Banquo), too, and the Vienna State Opera chorus was stunning.

                                    Rupert Christiansen, The Telegraph, August 17, 2011

The best vocal performance came from rising star tenor Giuseppe Filianoti, a luxuriously good singer for the lesser role of Macduff. The character's only aria "O figli," an apostrophe to the bodies of his murdered children, resounded with a chilling insistence that I have never heard injected into the role.

                                          Paul du Quenoy, ConcertoNet.com, August, 2011

Macduff, tenor Giuseppe Filianoti, rose to the occasion when mourning his family (their bloody corpses were displayed on stage).

                                   Irving Spitz, The Jerusalem Post, September 22, 2011

La Monnaie, Brussels - La Bohéme

Giuseppe Filianoti has very much the right timbre for Rodolfo.

John McCann, Opera, April 2011

The Metropolitan Opera – Les Contes d’Hoffmann

Giuseppe Filianoti’s good looks and energy, combined with raw-meat Italian high notes, make him a dominant hero in the wildly Romantic and drunken mode of the poète maudit.

David J Baker, Opera News, December 2010

The ever-pleasing Giuseppe Filianoti returned with a near-triumphant Hoffmann, as compelling and vivid physically as vocally. Filianoti gave 100 percent of himself; his Hoffmann is a splendid, brave assumption.

David Shengold, Gay City News, October 20, 2010

Most of the new singers were good, and one was spectacular. That one was Giuseppe Filianoti, the Italian tenor who inhabited the title role. He sang with equal parts poise and eloquence. He rang rafters with a tireless volley of plangent top tones. He sustained the high tessitura without a flinch. He conveyed the hero’s feverish, foolish passions with urgency, charm, impetuosity and pathos.

Martin Bernheimer, The Financial Times, October 1, 2010

Giuseppe Filianoti, as Hoffmann, looks like a young Charlie Chaplin and brings a compelling combination of swagger and vulnerability to the role. His voice is warm and powerful, and in Hoffmann’s most passionate music — the duets “C’est une chanson d’amour” and “O Dieu! De quelle ivresse” — he is completely convincing.

Allan Kozinn, The New York Times, September 29, 2010

In the title role of the unlucky-in-love poet, Italian tenor Giuseppe Filianoti gave a fearless performance, taking most of the optional high notes in the long and grueling role and holding onto them tirelessly. The sound of his lyric tenor is warm and appealing, and it seems to have grown in size and stamina since his debut five years ago. He played the role with disarming earnestness and ever-hopeful romantic ardor.

Mike Silverman, The Associated Press, September 29, 2010

As Hoffmann, tenor Giuseppe Filianoti, who made his Met debut in 2005 in Lucia di Lammermoor, again shows himself to be a most valuable artist . . . His handsome, Italianate voice was a pleasure to behold and he sang with much fervor.  His voice stood up well in this demanding role, allowing for some especially passionate singing even late in the evening when he launched into the stirring opening of the duet with Giulietta.

George Loomis, The Classical Review, September 29, 2010

Teatro alla Scala Tour, Buenos Aires – Verdi Requiem

The two best members were the soprano Marina Poplavskaya and the very able lyric tenor Giuseppe Filianoti, who is having a  promising career and showed an exquisite command of sweet but never cloying phrasing.

   Pablo Bardin, The Buenos Aires Herald, September 4, 2010

Opéra National de Paris – Les Contes d’Hoffmann

Giuseppe Filianoti, as Hoffmann, showed why he is among the top tenors.

Frank Cadenhead, Opera Canada, Fall 2010

In an overwhelming role tending towards flights of lyricism, his portrayal of the distraught poet has sincerity, an admirable French diction, and [he] glides into this music with almost as much ease as the Italian bel canto . . .We heard and watched this brave performance from beginning to end with pleasure.

Jean Cabourg, Opéra Magazine, July-August, 2010

Having enjoyed Giuseppe Filianoti’s portrayal of the title role in Hamburg two seasons ago, I can happily report that he was even better here. Not only does he have the endurance for this killer part, but he has the right temperament. His ringing top notes never seemed to tire, and his substantial middle voice seems to have become more supple and expressive in the intervening years. Passion, good looks, commitment, star quality. . . what more could you ask for than Filianoti’s commanding impersonation?

James Sohre, Opera Today, June 18, 2010

The main surprise comes from Giuseppe Filianoti, which was not expected in this role. His clear tone, they easy high notes, the precise pronunciation and endurance, paint a very convincing Hoffmann.

Catherine Scholler, Resmusica.com, May 23, 2010

In the title role, the young Giuseppe Filianoti, whose voice transcends the difficulties of the music – what lyricism, what resistance, and what intelligence - and captures every facet with a mixture of neglect and sincerity.

Francois LeSueur, Concertclassic.com, May 11, 2010

Giuseppe Filianoti, as Hoffmann, touches upon the characters limits, especially in the dreaded Venice Act, which endangers the most valiant; but it is not unbecoming to a poet between alcohol and death, life and confounding. The composition is right and the Italian tenor knows how to sing French.

Didier von Moere, Concertone.com, May 14, 2010

Giuseppe Filianoti assumes the role of Hoffmann with brilliance.

Manon Ardoin, Culture Mag, May 14, 2010

The tenor Giuseppe Filianoti is simply fantastic, with a vibrant voice, energy and a fiery temperament.

Helene Kuttner, French Premiere Magazine, May 2010

Lyric Opera of Chicago - L’Elisir d’Amore

Lyric scored a valuable addition to its enviable roster of lyric tenors with the company debut of Giuseppe Filianoti as Nemorino, one of his signature roles. The Calabrian singer’s timbre is bright and slightly reedy, with an open-throated approach above the staff that leads incisiveness to the tone, yet he boasts an elegance born of keen dynamic control. “Una furtiva lagrima’ was very intelligently shaped, and he had the whole boyishly-bumbling thing down pat. Filianoti was rewarded with a huge ovation at the final calls.

Mark Thomas Ketterson, Opera News, April 2010

Making his Lyric Opera debut, Italian tenor Giuseppe Filianoti was a perfect Nemorino. His rich lyric tenor voice filled the opera house, and his performance of the genuine hit of the opera, “Una furtiva lagrima,” was sheer perfection and it drew one of the longest ovations in recent memory. As an actor, Mr. Filianoti brought a keen sense of comic timing to the role, and he made Nemorino completely believable. His performance was absolutely flawless, and here’s hoping that he returns to Lyric Opera again and again.

R. Todd Shuman, Operaonline.us, January 23, 2010

This has been a rich season for tenor debuts at the Lyric, and Giuseppe Filianoti’s is the finest yet. The Italian singer possesses a middle-weight lyric instrument, eminently well suited to the role of the lovelorn bumpkin, Nemorino. Filianoti’s flexibility, ease of production, golden tone and effortless top notes were sensational, as with his honeyed, yearning “Quanto e bella” and “Adina, credemi”. For once, “Una furtiva lagrima” really was the big moment Donizetti intended—Filianoti’s caressing line, refined emotion, and sensitively nuanced dynamics and phrasing earned him a vociferous ovation that nearly stopped the show.

The tenor was also an inspired comic actor. Filianoti avoided the usual wide-eyed peasant tropes for a more self-aware and resourceful hero with several hilarious moments, including his joyous little dance around the magical elixir (actually, Bordeaux).

Lawrence Johnson, The Chicago Classical Review, January 24, 2010

Even before this Act II climax, Filianoti had won over the audience with his highly pleasing, characterful voice and his genuinely comic and heartfelt acting. When it came time for him to prove himself, he practically stopped the show with one of the longest spontaneous ovations for a Lyric debut in many years. It was not only that he nailed his notes, it was that he did so as his character: We saw a young man who has gained confidence in himself and, whether he has done so through magic or a simple bottle of good Bordeaux, we were all happy to cheer both part and singer.

Andrew Painter, The Chicago Sun Times, January 25, 2010

[Filianoti] cut a handsome, immensely likeable figure even as he spun cantabile lines of pure liquid gold. The famed tenor romanza, "Una furtiva lagrima" — in which our bumpkin-hero discovers, to his astonishment, that Adina also adores him — he delivered with a sweet, robust sound and elegant phrasing, to genuinely touching effect. The aria drew a long and thunderous ovation.

John von Rhein, The Chicago Tribune, January 25, 2010

Giuseppee Filianoti sings and acts Nemorino wonderfully. [He] easily wins the heart of the audience with his kindness, his innocence and his rich tenor voice. From his comic chops to his sweetness and ultimately to his angst, Filianoti emotes such emotional truth in his unforgettable aria Una Furtiva Lagrina that the audience gave him a cheering standing ovation!

Tom Williams,  Chicagocritic.com, January 27, 2010

In his first appearance at the Lyric, Giuseppe Filianoti almost stopped the show . . . The silky voiced, handsome Italian tenor not only touched everyone's heart when he sang, but he also had some wonderful comic moments in a compelling portrayal of a young man desperately in love . . . On opening night, when he sang the famous aria "Una furtiva lagrima" (One furtive tear), the audience went wild, giving Filianoti the loudest and most prolonged ovation I have ever heard at the Lyric.

Betty Mohr, The Southtown Star, January, 28, 2010

Bayerische Staatsoper – L’Elisir d’Amore

With a special love presented is Nemorino, whose polished role concept meets an extraordinary good cast with the tenor Giuseppe Filianoti. This character is staged as a mixture of Charlie Chaplin and a pubescent boy, languishing Adina at times and then keeping her in suspense. Literally and intensely pumping a drink of love (or, in fact, Bordeaux), he let himself be carried away for a public biceps show, including sexy hip swinging. Among this not really new but very appealing cheekiness, Filianoti’s acting talent is flourishing and also his vocal performance is absolutely worth listening to, when down from a telephone pole he is adoring Adina with ‘Una furtiva lagrima'.

Online Musik Magazin, München

Nemorino found in the physically very agile Giuseppe Filianoti a vocally high respectable and stunningly brilliant acting interpertation. In this ideal mixture he left nothing to be desired and could celebrate, receiving rightfuly overwhelming cheers, one of the most impressive house debuts in the last years. With his clownish melancholy and posing like Charlie Chaplin, the young Italian showed all facets of his coming talent. He delivered the romance 'Una furtiva lagrima' audaciously by using all his muscular power, appearing to be completely free from diziness at lofty heights on a lamp post. As dreamy and having lost the ground under his feet, this mega-hit has never been performed before.

Das Opernglas, München

Tenors are nice people. They are prepared to join in everything. So too is the excellent Giuseppe Filianoti, who is forced by the regie to climb a lamp-post for the most famous aria of this opera: He sang "Una furtiva lagrima" from lofty heights admirably. However, one had the impression that he could do this even better on the safe ground of the stage floor . . .  (He) made the shy lover as a brother of Charlie Chaplin: wide, torn trousers, the typical awkward movements, charming, clumsy, lovable.

Abendzeitung, München

Regisseur Bösch presents this Nemorino from appearance and acting in a way that he seems to be an anticipation of Rolando Villazon, who will take over this role in July. But the gorgeous looking Giuseppe Filianoti performs the miracle of making people forget any promise of Villazon. Everything he shows is not copy, but a lovably lively filled ideal. And how difficult it is to make such a naive dream dancer authentic. Filianoti's voice has, without sobbing, the necessary melancholy; it is light, agile, beautifully timbered, led almost effortlessly.

Süddeutsche Zeitung, München

White is the light of the neon tubes, a shrunk yellow balloon hangs down from the lamppost – as well as Filianoti. Four meters high, he looks for a secure hold and isn't sure yet: to go higher up or plunge down? But then he sings of the "Furtiva lagrima", the Furtive Tear. Four minutes, as dangerous as can be, during which the whole evening coincides. His poetry, his bizarre comedy and the unspeakable heartache which tortures him and results in helpless and useless gestures: Love must find a way - but how?

This "Elisir" is the evening of Giuseppe Filianoti. A sad wanderer, à la Chaplin and Keaton. A clown, somehow thrown out of the world, suffering from it, blessed with almost obsessive optimism and a huge heart. How Filianoti plays this and supports himself with his emphatic tenor reveals him as an enchanting performer, who - thanks to David Bösch - is having his outing as an actor.

Münchner Merkur, München

Convincing as an actor is Giuseppe Filianoti as Nemorino: a sad fool, touching by his helpless, unconditional love. His lyric tenor has the necessary chest volume and dark colour, which make it possible to give also the melancholy side of the role.

Augsburger Allgemeine, Augsburg

Los Angeles Opera – L’Elisir d’Amore

Giuseppe Filianoti’s lyric tenor has a distinctive Italianate timbre that renders it unique.

Carie J Delmar, Opera Online, September 16, 2009

Filianoti combines physical stature (strength, not girth) with a fresh face, a light touch and a powerfully gentle voice; his "Una furtive lagrima" in the second act was pure and beautiful. The words that come to mind: staying power.

Tom Christie, LA Weekly, September 15, 2009

In the world of bel canto opera, the Italian tenor Giuseppe Filianoti is acknowledged as one of the finest and most beautiful voices of his generation.

 Los Angeles Opera

Filianoti is a true Italian tenor, and if his voice takes on a deeper hue as he matures he might well end up the Corelli for our time.

Mark Rusio, Examiner.com, September 14, 2009

The Royal Opera, Covent Garden – L’Elisir d’Amore

Giuseppe Filianoti brings a reliable tenor to her sweet, gawky admirer Nemorino.

Warrick Thompson, Bloomberg News, May 20, 2009

Filianoti is fearless in pursuit of self-deprecating laughs, whether flailing hopelessly around the preening Adina or hurling himself up and down the giant haystacks.

Neil Fisher, The Times of London, May 14, 2009

The Metropolitan Opera – Rigoletto

Mr. Filianoti has a virile, bright voice with Italianate ping in his upper range. With his limber and youthful appearance, he held the stage and embodied the part of the reckless and lecherous Duke.

Anthony Tommasini, The New York Times, January 26, 2009

Opera Orchestra of New York - L'Arlesiana

Audience members applauded and stomped their feet, shouting ‘Bis!’ and Giuseppe Filianoti complied with an encore. Remember his name: He's going to be a major tenor.

Slender, with bushy hair and expressive eyes, Filianoti connects with fans in a direct, emotional way. In the unstaged concert performance with the Opera Orchestra of New York, his movements were limited mainly to resting arms on music stands. But when he stands slightly hunched, hand out, palm up and slightly curled, he emotes anguish.

His voice easily soared over the orchestra, pinging at the top in a manner that's rare for tenors these days. He hasn't been hyped, making a low-key Metropolitan Opera debut in October 2005 as Edgardo in Donizetti's "Lucia di Lammermoor" and returned last May for Donizetti's "L'Eliser d'Amore." Filianoti's rendition of Federico's lament, "E la solita storia," was moving, with beautiful arched lines that retained their color when pushed — after 90 seconds of applause, he repeated the aria, then was applauded for another minute.

Ronald Blum, The Associated Press, February 22, 2007

The Metropolitan Opera – Lucia di Lammermoor

The young Italian tenor Giuseppe Filianoti made a dashing début as Edgardo in “Lucia di Lammermoor,” and acquired a fan club in the upper balconies by the fifth performance. An old-school, from-the-heart singer in the mode of Giuseppe di Stefano, Filianoti plucked off high notes with a clear, pinging tone, maintained a generous long line, and threw himself into the role with infectious, almost loony enthusiasm.

Alex Ross, The New Yorker, December 26, 2006