Carmen Giannattasio
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Donizetti: Linda di Chamounix
Eglise Gutiérrez (Linda), Ludovic Tézier (Antonio), Stephen Costello (Carlo), Marianna Pizzolato (Pierotto), Alessandro Corbelli (Marchese de Boisfleury), Bálint Szabó, Elizabeth Sikora (Maddalena), Luciano Botelho (Intendant)
Orchestra and Chorus of the Royal Opera House, Covent Garden, Sir...
[Elder] infuses the whole performance with conviction, right from the rather impressive overture...All the singers are up to their roles, and the playing of the orchestra is bold; even the most... —
Awards:
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BBC Music Magazine Awards, 2012, Opera Finalist
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BBC Music Magazine, August 2011, Opera Choice
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Gramophone Magazine, August 2011, Editor's Choice
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Opera, August 2011, Recording of the Month
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Donizetti: Caterina Cornaro
Carmen Giannattasio (Caterina Cornaro), Colin Lee (Gerardo), Troy Cook (Lusignano), Graeme Broadbent (Andrea Cornaro), Vuyani Mlinde (Mocenigo), Loïc Félix (Strozzi, a Knight of the King) & Sophie Bevan (Matilde)
BBC Symphony Orchestra & BBC Singers, David Parry
Giannattasio brings an easy confidence to the rich lyricism of the writing, though a cleaner attack on the text would stamp more personality on the role...Colin Lee is sweet and graceful...and... —
Awards:
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Opera, November 2013, Recording of the Month
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Donizetti: Parisina d’este
Carmen Giannattasio (Parisina), José Bros (Ugo), Dario Solari (Azzo), Nicola Ulivieri (Ernesto), Ann Taylor (Imelda)
Geoffrey Mitchell Choir & London Philharmonic Orchestra, David Parry
Donizetti provides Parisina with one of his most plaintive arias in 'Sogno talor di correre' and a spectacular send off in Act III with 'Ora funesta!'. There's some exquisite orchestra writing…... —
Awards:
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Gramophone Magazine, November 2009, Editor's Choice
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Arrivederci
Standard Version
Vittorio Grigolo (tenor), Carmen Giannattasio (soprano)
Coro e Orchestra del Teatro Regio di Parma, Pier Giorgio Morandi
After he has handsomely done his classical duty with arias from Verdi, Puccini, Mozart and Cilea among others, Grigolo lets rip with popular Italian songs, emoting in a properly verismo manner... —
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Cimarosa: Il Marito Disperato
Vassiliki Karajanni (soprano), Carmen Giannattasio (soprano), Marianna Pizzolato (mezzo), Bruno de Simone (baritone), Juan José Lopera (tenor), Filippo Morace (bass-baritone), Luciano di Pasquale (bass)
Orchestra del Teatro di San Carlo, Antonino Fogliani
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Italian Opera Overtures Vol. 2
The Early 19th Century
Dalmacio Gonzales, Giorgio Surjan (bass), Christine Weidinger, Sara Mingardo (contralto), Anna Laura Longo, Martino Fullone, Marianna Pizzolato (mezzo-soprano), Marco Vinco, Maxim Mironov (tenor), Bruno de Simone, Barbara Bargnesi, Jose Maria Lo Monaco, Alex Esposito (bass-baritone), Alessandra Marianelli,...
The overall impression is good and we get to hear a number of insightful conductors at work. —
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Rossini: Ermione
Carmen Giannattasio (Ermoine), Patricia Bardon (Andromaca), Paul Nilon (Pirro), Colin Lee (Oreste), Bülent Bezdüz (Pilade), Graeme Broadbent (Fenicio), Rebecca Bottone (Cleone), Victoria Simmonds (Cefisa), Loïc Félix (Attalo)
Geoffrey Mitchell Choir, London Philharmonic Orchestra, David Parry
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Arrivederci
Vittorio Grigolo (tenor), Carmen Giannattasio (soprano)
Coro e Orchestra del Teatro Regio di Parma, Pier Giorgio Morandi
After he has handsomely done his classical duty with arias from Verdi, Puccini, Mozart and Cilea among others, Grigolo lets rip with popular Italian songs, emoting in a properly verismo manner... —
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Donizetti: Ugo Conte di Parigi
Doina Dimitriu (Bianca), Yasuharu Nakajima (Ugo), Carmen Giannattasio (Adelia), Dejan Vatchkov (Folco), Sim Tokyurek (Luigi), Milijana Nikolic (Emma)
Teatro Donizetti di Bergamo, Antonino Fogliani
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Verdi: Requiem
Carmen Giannattasio (soprano), Veronica Simeoni (mezzo), Alexander Timchenko (tenor), Carlo Colombara (bass)
Mikhailovsky Theatre Chorus & The St Petersburg Philharmonic Orchestra, Yuri Temirkanov
The playing is… finely articulated, strong and fiery in the 'Dies irae', the brass expert and thrilling at the 'Tuba mirum'. And with many other instrumental highlights throughout. The tone... —
