PRESS

Antony Ciaramitaro shows off a large, full-bodied and beautifully colored instrument, very suitable for the role. He is a passionate Alfredo, handsome and convincing from all points of view, starting from the careful attention to phrasing; the duet with the protagonist in "Parigi, o cara" has a great emotional impact, in which the complicity and amalgam between the two are palpable.

A happy surprise was the tenor Anthony Ciaramitaro, making his debut in the role and in a European theatre, who showed off a vocal mix of beautiful color and a passionate phrasing very suitable for the role of Alfredo…it cannot be denied that in passages such as the aria in the second act or "No, non morrai, non dirmelo" the vocal and interpretative expansion were of great impact.

Anthony Ciaramitaro is one of the great triumphants of the evening…(with) a broad and powerful voice, with beautiful projection and a flattering timbre. His grand aria “Quando le sere al placido” is performed with exemplary confidence and sense of expression. Throughout the evening, we remained dazzled by the quality of his singing, the accuracy of his style and his craft. A name to remember.

Ciaramitaro has a powerful tone loaded with a passion that cuts smoothly over the orchestra. I was invested in the character and wanted Giorgio to win Micòl’s heart, and I felt it in my own when he couldn’t…Ciaramitaro worked the nuances of his character and had so sucked me into Giorgio’s life that he became real—authentic enough for me to want to throttle him for his actions. This is the highest compliment I can extend to an actor.

Giorgio is the main character, with the most music and greatest demands, and Ciaramitaro’s singing was brightly colored throughout. The opera opens and closes with the older Giorgio remembering and singing gently, while in between the tenor conveyed youthful energy, and was able to bring great intensity to the drama’s climactic moments.

In the central role of Giorgio, Anthony Ciaramitaro revealed a firm, fresh lyric tenor, full of promise, and coped heroically with the high tessitura…

Ciaramitaro boasts a full-bodied leading man tenor, dark and clarion, that sweeps away all argument when impassioned…an instrument that seems designed for (Richard) Tucker roles.

With his ringing Italianate sound and more than a touch of squillo, Anthony Ciaramitaro’s tenor pierced even the thickest of Gordon’s rich orchestral textures in a standout performance.

In particular, the well-placed and -colored tenor of Anthony Ciaramataro, as Giorgio, who was both protagonist and narrator of the piece, was very welcome. Much of the opera's impact fell on his shoulders and he did admirable work, switching from the more ardent university student to the older, wiser man who comes back to the ruined synagogue of his youth.