30 April 2016
"Canadian Opera Company Four Seasons Centre Friday night Opera in the nineteenth century – especially the Italian bel canto version – was an exercise in the glories of excess ... Voices of unnatural power, agile and forceful at the same time, perfectly tuned, sweet and pure at one moment, violent and agitated at the next , moving from high to low almost instantaneously – the spectacle of the trained human voice, awesome and exhilarating, was the essence of opera’s glory.
And a hefty helping of that glory was in evidence at the Four Seasons Centre on Friday night in the Canadian Opera Company’s production of Rossini’s Maometto II, a rarely staged work of his from 1820. Maometto II may be the best-sung production of the season at the COC, and that’s saying something at Alexander Neef’s COC, where the quality of the singing is always extremely high. But this one may have topped them all, a tribute to the show’s four stars, who bathed us in the magic of the operatic voice for three wonderful hours and then some ... it is a great credit to all the performers that their vocal perfection and resulting extravagance never once diverted attention from the basic drama of the work ...
20 March 2016
This spring, Luca Pisaroni makes his highly anticipated debut at Canadian Opera Company, in the title role of Rossini's Maometto II. Mr. Pisaroni received widespread critical acclaim for his previous performances in this David Alden-directed production, at Santa Fe Opera (2012):
"The other standout performance was that of Luca Pisaroni as the sultan whose bellicose ravings soften when he's in Anna's presence. The Italian bass-baritone...sang magnificently, not least in Maometto's bloodthirsty battle crposy, the aria All'invito generoso," which Pisaroni trumpeted from atop a marble equestrian statue. He is now the Samuel Ramey of his generation; no higher praise is possible." (Chicago Tribune)
26 February 2016
"Luca Pisaroni, a proven scene stealer himself, portrayed the Count compellingly, his rich, solid bass-baritone projecting cleanly, his lustful finagling written on his every oily snoop and gesture."
James R. Oestreich - New York Times
"As The Count, Luca Pisaroni was outfitted by Howell to reflect gentlemanly sport. Act I sailing chic came with a brass-buttoned navy jacket in soft Neapolitan constructions matched to cream, linen slacks. Act III’s polo sportsmanship came with high Spanish cut topline field boots and full-seat breeches. Little nobility or aristocracy left, Pisaroni held authority without relying on political menace, arrogance from vanity. With outstanding resonance and burnished, polished, lyric timbres, Pisaroni stamped beautiful, dark shades when needed or stripped it clean and clear with uniform emission in every register. Naturalistic recitatives (accompanied by harpsichordist Bryan Wagorn) were marked with great infections. Arias were masterclasses, such as “Hai già vinta la causa!”.
Courtney Smith - Bachtrack
18 February 2016
Luca Pisaroni sings the role of Giorgio in Bellini's spectacular I Puritani next season at The Metropolitan Opera. The production, with staging by Sandro Sequi, also features Diana Damrau as Elvira, Javier Camarena as Arturo, and Alexey Markov sings Riccardo. Maurizio Benini leads The Metropolitan Opera Orchestra for these performances, taking place February 10, 14, 18, 22, 25 & 28.
11 February 2016
". . . the cast is wonderful . . . The Giovanni-Leporello recitative exchanges flow like oil. Luca Pisaroni’s singing is immaculate and strong; his gangling Leporello can’t conceal that he looks and sounds like a Giovanni . . ." (Mark Mandel, Opera News)
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