Michael Fabiano



Michael Fabiano at Palm Beach Opera Gala

February 6th, 2017

Michael Fabiano headlined Palm Beach Opera’s gala at the Flagler Muse

For most people, singing well takes a lot of effort. Michael Fabiano is not corsaro-tuckermost people, it would seem.Fabiano’s voice, instead of being forced out, fighting against stll air, sounds like it is being pulled out to fill a void. He could not keep the sound in if he wanted to.

…Despite the recital format, each aria was delivered with a full-blown operatic performance, including beginning Giacomo Puccini’s Ecco la casa…Torna ai felici di with his back to the crowd.

…Watching Fabiano sing was akin to watching a superhero lift a heavy object. He performed the task with ease, often casually leaning against the piano. Work that would make a mortal sweat, turn red and likely pull a muscle, but he did it with a smile.

The Daily News | Palm Beach

La Bohème

January 22nd, 2017
Boheme-Seattle_resized 2“The most exciting of all these performers, though, and surely one of the most electrifying singers on the Met’s roster, was tenor Michael Fabiano as the jealous poet Rodolfo. While there is great beauty in his basic timbre, particularly in the middle octave of the voice, his real forte is his ideal mastery of Italianate style. Many other tenors can capture the sweet, sentimental side of this opera, but Fabiano’s aggressive attack reminds us that Puccini’s roots were in verismo, realism. He finds in Rodolfo a core of anger and desperation that seems to cry out against social injustice.”
The Observer

Metropolitan Opera: This is no routine production…
For many the big attraction was tenor Michael Fabiano, returning to the Met after a few years. Last time he was here, he took on this very role to great plaudits. Since then, the tenor has grown as an artist and on account of his work on Wednesday, he promises to be one of the most thrilling at the Met for years to come.

Fabiano is a passionate artist, he holds back nothing when the music asks for it. Puccini’s music in this work ebbs and flows, the climaxes reaching unbearably rich extremes and the valleys offering moments for subtlety and grace. You can feel the climaxes coming and the suspense of seeing a singer match the emotional heights creates tremendous tension for the spectator. Fabiano crowns those climaxes with an incredible production of sound that gleans with clarity and ease. This was most evident during the famed climax of the aria “Che gelida manina” and the opening lines of the love duet with Pérez. In all he played Rodolfo with his heart on his sleeve, the bohemian writer as impulsive as he was playful.

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November 22nd, 2016

screen-shot-2016-11-22-at-11-35-32-am“I’ve raved before about Michael Fabiano. . . , but I don’t know that I’ve ever heard him sing with the clarity and power he brought to the role of Jean (John the Baptist) on Sunday, his sound heroic and translucent, with no evident strain, culminating in a showstopping performance of his aria “Adieu donc, vains objets” in Act IV.”
The Washington Post

The role of John the Baptist suited tenor Michael Fabiano like a glove, for his return to WCO after a fine Il Corsaro two years ago. His voice had heroic fervor for his condemnation of Hérodiade and especially his anguished plea to God in the dungeon scene of Act IV. Just as impressive was the soft sweetness he brought to the tender scenes with Salomé.
Washington Classical Review

“Fabiano’s tenor is effortless and bright, and it cuts through the orchestral texture beautifully. In the finale of the third act . . . he came out to sing a thrilling “Adieu donc, vains objets,” passionately limning the tension between earthly love and sacred duty.”
Philip Kennicott – The Washington Post




November 6th, 2016

screen-shot-2016-11-05-at-10-37-26-pmA Descent Into Hell With Wonderful Voices and Music
“Tenor Michael Fabiano turns the lumpy role of Faust into a part of distinction, and his ardently sung “Salut demeure” would turn anyone’s head.”
Houston Press

The Devil is in the details
“American tenor Michael Fabiano is a complex Faust, here making his HGO debut. He seems to be several singers packed into one. In the opening scene he conveys the despondent old philosopher with poignancy, becoming strangely triumphant as he contemplates his own death.

Later transformed by the devil into a young man at the peak of his sexual powers, his voice warms as he encounters the lovely Marguerite. In their duet amidst the flower-laden gardens outside her cottage, he has to hold a very high note for a very long time. It’s one of Gounod’s rare show-off moments, and Fabiano made it something special, as if he had just discovered it. He stands out in the ensemble passages as well. ”
Culture Map

World Class singing in classic Faust
“The role of Faust, the most familiar of French lyric tenor roles, proved a felicitous fit with Fabiano’s attractive tenor voice. His aria  Salut! demeure chaste et pure displayed the power and vocal expressiveness that one has come to expect from this consummate artist .”
Opera Warhorses

Faust pulls all the stops
“Michael Fabiano is a shining presence as Faust, and performs the role beautifully.”
Broadway World


Michael Fabiano sings “Il Lamento di Federico” by Cilea

WQXR presented an evening of Italian opera and song live in The Greene Space on October 7, featuring tenor Michael Fabiano, winner of the 2014 Richard Tucker Award.

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