Michele Capalbo reviews
“A world-class Aida, passionate, subtle and vocally satisfying.” - Opera News “(Michele Capalbo) possesses the ideal voice and the musicality for Verdi heroines…(she) invites comparisons to celebrated divas from years past.” - Opera Canada
...a real Aida. Michele Capalbo has a genuine voice, from a lower register she actually uses to high floating pianissimos.
The New York Times
Michele Capalbo performed a world-class Aida, passionate, subtle and vocally satisfying. Her "O patria mia" had the audience of several thousand screaming for more.
In the title role is Michele Capalbo, whose lovely lyric soprano has a beautifully finished upper end. She is an attractive brunette who fits the role visually, and it was a pleasure to listen to her control of dynamics in her instrument's upper range. This young Canadian, who has sung this role quite a few times already, may well be one of the big stars of the near future.
The Roanoke Times
Michele Capalbo was in any terms a successful, idiomatic Aida. Her voice is fresh and genuinely Italianate in a way that eludes the likes of Voigt and Sweet; she phrased with conviction and negotiated the role's pitfalls skillfully, with wonderful tapered dynamics down to a good, shimmering ppp.
In the title role of Aida, the beleaguered slave princess, soprano Michele Capalbo handled the huge musical leaps with ease. Imbuing Aida with sympathy, power and regal bearing, she outlined Verdi's ardent melodies with gleaming tone. Even more convincing was the degree of temperament in her singing.
Worcester Telegram & Gazette
One couldn't ask for a more visually appealing or vocally thrilling portrayal of the young Ethiopian slave-princess, Aida, than the one created by Canadian soprano Michele Capalbo. Her voice is powerful and flexible, capable of soaring one moment with soul-piercing utterance and spinning out long, caressing pianissimo phrases at the next - a true Verdi soprano. (One can almost imagine the beautiful young La Scala prima donna Teresa Stolz, on whom Verdi insisted for important Italian productions of "Aida." She was later his "Requiem" soprano of choice.)
Definitely not an adherent of the one-sound-fits-all school of singing, Capalbo has an amazing command of vocal "veils" and "colors" as well as superb control of dynamics. The art of entering very softly with a beautiful sound on a high note, crescendoing and tapering back down to a silken thread, without appreciable loss of quality, is alive and well in the voice of this young Canadian soprano, who is this season's "Tosca" for Opera de Quebec.
Needless to say, her Act III aria, "O Patria Mia," as well as her poignant Act I soliloqy ending in "Numi, pieta," were musically and dramatically a delight, as were her important duos and ensemble numbers. No matter the thunderous decibel level of chorus, orchestra and soloists combined, Capalbo's distinctive voice could be heard soaring above or interjecting softer commentary in the inner spaces of the music.
Cape Cod Times
Chosen for the role the young Canadian singer Michele Capalbo, in the title role: with finesse and a beautiful vocal line. (Prise de rôle pour la jeune cantatrice canadienne Michele Capalbo, dans le rôle titre : avec finesse et une belle ligne vocale.)
Dernières Nouvelles d'Alsace
Throughout the work Ms. Capalbo displays a rich and polished lyric voice full of color and fluidity. Her rendition of the work's famous aria "Vissi d'arte," is strikingly honest and varied, full of powerful waves of vibrato and soft tenuous lines that hang on the top of the scale, then descend in a flurry of passion. As she pounds her knife into Scarpia's torso, she groans. When she's chased by the cops, she jumps happily to her doom. She is to this production what the star Karita Mattila is to the Met's current "Salome." She should be heard.
New York Sun
The highest praise of the evening however, should go to Capalbo, whose delightful voice is founded both on solid technique and a subtle musicality. Her Italian diction was impeccable, and her noble and dignified Tosca evolved as the work progressed.
The lyric spectacle gives the opportunity of discovering a Canadian soprano of which one couldn't hear enough said, Michele Capalbo. What a voice, and what concentration on the part of this singer, who seemed to be in an isolated universe all evening long. In the second act, Capalbo (Tosca) and her partner Gaetan Laperriere (Scarpia), deliver an excellent duel of voice and of game. It is the best act, of the evenings three acts.
(Le spectacle lyrique donne l'occasion de découvrir ici une soprano canadienne dont on n'a pas fini d'entendre parler, Michele Capalbo. Quelle voix et quelle concentration de la part de la chanteuse, qui semble dans un univers isolé tout au long de la soirée. Au deuxième acte, la chanteuse et son partenaire Gaétan Laperrière (Scarpia) se livrent un excellent duel de voix et de jeu. C'est le meilleur tiers de la soirée, puisque l'opéra compte trois actes.)
The young Canadian soprano Michele Capalbo as Floria Tosca ... demonstrated a dark, richly colored, even voice topped by brilliantly shining high notes ... [and] the famous aria "Vissi d'arte" was exquisitely shaped.
The Boston Herald
Soprano Michele Capalbo, a young Canadian on the way to a major career, played the title role. Her voice, particularly in the upper reaches, is by turns warm, sultry, and brilliant.
The Boston Globe
Young soprano Michele Capalbo is set to make her mark. Her Tosca had the appearance and sound of a young girl, though her voice, which grew in intensity as the evening wore on, was full and clear in the higher ranges.
Every Tosca is judged by the second-act aria "Vissi d'arte," and Capalbo sang the aria with great beauty and refinement.
Michele Capalbo, the Desdemona, can be safely added to the short list of Canadian sopranos with true Verdian lustre.
As Desdemona, the Canadian soprano Michele Capalbo overflowed with nobility and absolutely dominated her character, dazzling from her entrance with a rich colorful voice and an overwhelming facility for pianissimi and fil di voce. Without a doubt, the most exciting moment of the evening came during her touching aria and 'Ave Maria', not suitable for those with a heart condition.
The evening's star was Michele Capalbo as Otello's wife, Desdemona. She has a heavenly voice. Time and again she leaned comfortably into impossibly high notes with a tone so resonant you could almost touch it. Her acting also is impeccable.
The Iowa Gazette
Capalbo plumbs the depths of Butterfly's deep character...In Canadian soprano Michele Capalbo, it (HGO) had a special singer who knew how to handle the complex sides of the title role, Cio-Cio-San:a girl of exquisite physical grace and a woman of steely conviction...Her singing certainly was bold, but the depth of her characterization as the ill-fated geisha known as Butterfly made a far bigger impression.
Her Cio-Cio-San was a mixture of the girlish geisha and the very mature woman who deliberately chooses a course - marriage to an American and conversion to his religion - that will make her an outcast.
Capalbo suggested the first with refined, graceful gestures. They loosened as Cio-Cio-San settled into her role as (abandoned) wife and mother. That refinement returned as psychological protection when Cio-Cio-San finally perceived her fate.
The Houston Chronicle
Capalbo made a radiant Butterfly, the child bride gentle as porcelain who grows into maturity through disaster and heartache. And she has a voice to match, easily floating those stratospheric pianissimos once patented by Montserrat Caballe
The Houston Press
Canadian soprano Michele Capalbo was an eminently satisfying heroine. Her full rich voice boasted a strong lower register and a soaring top, and her portrayal, though heavily encrusted with Japanese gestures and movements, was tender and affecting.
Capalbo is graceful, endearing and delicate in her rendering of Cio-Cio-San, capturing every nuance of movement, posture and facial expression. I've never seen the role done so engagingly. Her voice soars, especially on the opera's two most recognizable musical moments -- the famous aria "Un bel di" (One beautiful day) and "The Love Duet," which Cio-Cio-San sings with Lieutenant Pinkerton
Pensacola Daily News
Rising Canadian soprano Michele Capalbo brought not unwelcome spinto weight and scale to the Governess's part, always retaining enough lyric grace for some lovely halftones and skillfully applied high pianissimos. An attractive and affecting stage figure (less bossy or bonkers than some contemporary Governesses), Capalbo gave a nuanced, compelling reading of this challenging but wonderful role.
Canadian soprano Michele Capalbo, as Anna, sailed fearlessly and with unrelenting stamina through her enormous aria "Enfin, je vous revois." She wore her floating white gowns as if modeling for Sir Joshua Reynolds.
As the White Lady, Michele Capalbo showed commendable artistry, producing some fine, bright singing with a clean tone.
Amongst the soloists, the Canadian Lyric soprano, Michele Capalbo was especially a revelation. Her decorative slender voice was perfectly matched for the role of Anna. (Bij de solisten was vooral de Canadese lyrische sopraan Michele Capalbo een revelatie. Haar fraaie, slanke stem was juist geschikt voor de rol van Anna.)
Equipped with an ideal timbre for French music, Michele Capalbo succeeds as Anna in an impressive Rhine opera debut. (Ausgestattet mit einem idealen Timbre für französische Musik gelingt auch Michele Capalbo als Anna ein eindruckvolles Rheinoperndebüt.)
Online Musik Magazin
Michele Capalbo's Anna unites lyric beauty with enormous technical talent. (Michele Capalbos Anna vereint lyrische Anmut mit enormer Kehlfertigkeit.)
West Deutsche Allgemeine Essen
Michele Capalbo, as Anna, had radiating colouratura. (Michele Capalbo als strahlende Kolorateuse Anna genannt.)
West Deutsche Zeitung Düsseldorf