Michael Fabiano

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San Francisco Symphony’ ‘all-Italian’ concert

September 25th, 2016

screen-shot-2016-09-25-at-6-52-55-pmSan Francisco Symphony’s ‘all-Italian’ concert is an aural feast

“Plus, there’s the chance to hear Fabiano, who is increasingly one of the great operatic tenors of our day, diving into both familiar and off-beat repertoire and delivering it with fluency and ringing power. In the absence of an opera house stage, sets or costumes, Fabiano simply conjured up a world of theatrical intensity and let it fly.

His accounts of two Verdian scenes, from “Simon Boccanegra” and “Il Corsaro,” matched expressive ardor with tonal intensity. He brought heart-wrenching pathos to Donizetti’s “Una furtiva lagrima,” stretching the final note almost — but not quite — to the breaking point. And he shone in a rarity, Verdi’s song “Il poveretto” (“The Pauper”) done with Berio’s fascinating orchestration.”

San Francisco Chronicle

“Still, for many in the audience, the appearance of Fabiano marked the evening’s high point. The American tenor, who starred in the title role of Verdi’s “Don Carlo” at San Francisco Opera earlier this year, closed the program with three Verdi arias — “Sento avampar nell’anima” from “Simon Boccanegra,” “Tutto parea sorridere” from “Il corsaro” (joined by the men of the Symphony Chorus),” and the concert aria, “Il poveretto” (arranged by Berio). “Una furtiva lagrima” from Donizetti’s “L’elisir d’amore,” sung with melting beauty, completed the set.

Fabiano’s firm, generous tone, intelligent phrasing and impassioned emphasis are ideal in these works. This is the kind of Italian singing that opera lovers can’t get enough of, and with Tilson Thomas supplying a thrilling orchestral backdrop, the tenor’s appearance drew an enthusiastic standing ovation from the audience. If he and Tilson Thomas ever team up for a complete opera performance, it won’t be a minute too soon.”

San José Mercury News

“The rest of the Italian program had a more immediate appeal. With his enormous stage presence, American tenor Michael Fabiano didn’t need more than his voice and a few gestures to capture the audience’s attention and make a convincing, passionate Gabriele from Simon Boccanegra (Verdi) or Nemorino from L’Elisir d’amore (Donizetti).”

San Francisco Classical Voice

 

“I Due Foscari” en el Teatro Real

July 13th, 2016

“DScreen Shot 2016-05-14 at 12.24.38 PMebutaba Michael Fabiano el rol de Jacopo Foscari. Un papel nada sencillo al que Verdi regala, ya de salida, toda una página de extrema belleza pero que expone a cualquier cantante a destapar sus virtudes… o sus carencias. En esta ocasión el tenor de Nueva Jersey demostró muy buenas virtudes, tirando más de formas spinto que plenamente líricas, con una voz bien timbrada, de pegada en el agudo en una línea de canto muy homogénea a la que tal vez se le podría requerir una mayor imaginación en las repeticiones y delicadeza en las páginas mas introspectivas. En cualquier caso, un tenor a seguir, con tan sólo diez años de carrera y con muchas posibilidades a recorrer tal y como ha contado a Platea en su última entrevista en exclusiva con nosotros.”
Platea Magazine

“Magnífico también Michael Fabiano, que extrae dolor y patetismo de su Jacopo Foscari, quizá el tenor verdiano más deprimido que se recuerda.”
El Mundo

“…el tenor Michael Fabiano, con un timbre que a veces recuerda al del joven José Carreras, demostraron que la edad de oro del canto puede volver a conocer nuevas noches de gloria si se entiende que la voz es el vehículo esencial para comunicar emociones.”
La Voz de Galicia

Plácido Domingo: el león – “Lo demostró la reacción de los espectadores en el trance de los saludos. Un resorte los puso de pie con la sincronización de un desfile norcoreano. Y se concedió Domingo la enésima noche de gloria. No sólo por la sugestión de su leyenda o por la devoción que suscita, sino por su credibilidad artística, por su afinidad verdiana y por su competencia vocal. Más que 75 años, se diría que Domingo ha cumplido 57. Y que persevera en la hegemonía del escalafón porque nadie es capaz de ocupar su sitio. Compareció ayer uno de los aspirantes. Michael Fabiano se llama, un tenor italoamericano que tiene cualidades extraordinarias para situarse entre los delfines de la sucesión.”
El Pais (blog by music critic Rubén Amón)

I due Foscari de Verdi en Madrid
“Lo mismo podemos decir de Michael Fabiano, la voz del tenor norteamericano en estos momentos podría ser definida como lírica-spinto y puede acometer los papeles de tenor verdiano con verdadera solvencia gracias a una línea de canto muy elegante, carnosa en el centro, con buen dominio (a estas alturas) de la mezza voce verdiana tan olvidada en la actualidad, su fraseo fue impecable en los momentos de mayor fragilidad pero no estuvo exento de fuerza cuando se requería, tiene una voz joven sin nada de vibrato que proyecta sin dificultad, su noche fue portentosa ya que su gran robustez estuvo muy equilibrada con la transmisión de las emociones y cuadraba perfectamente con el despliegue de la soprano; los espectadores premiaron su ímpetu, todo un descubrimiento del que vamos a oír muy buenas cosas en el futuro.”
Opera World

Verdi’s “Don Carlo” at the San Francisco Opera

June 16th, 2016

Screen Shot 2016-06-16 at 1.12.38 PMFabiano: a Don Carlo to treasure
“Fabiano, already well-known to San Francisco audiences, gave an astonishing performance from beginning to end: mastering elements of both a lyric tenor and a heldentenor, Fabiano’s clear and powerful voice filled the 3,200-seat barn (which, huge as it is, does have decent acoustics). He handled the role’s complex and contradictory dramatic requirements well, expressing the character’s ardor, anger, despair.”
Examiner.com

Dynamic “Don Carlo” dazzles at San Francisco Opera
“If opera lovers are looking for a good reason to see and hear the San Francisco Opera’s new production of “Don Carlo,” they need look no further than tenor Michael Fabiano. Singing the title role of Verdi’s epic melodrama for the first time in his career, Fabiano is nothing short of magnificent. . . Fabiano’s muscular, richly colored tenor is a marvelously flexible instrument; making his role debut as Carlo, he expressed the character’s anguish and intentions in forceful terms. He sang with firm tone in his scenes with his close friend and ally, Rodrigo, the Marquis of Posa. Yet Fabiano was just as affecting in his love scenes; his tender, beseeching vocalism in Act II, when he declares his devotion to Elisabetta, was ardent and eloquently phrased.”
San Jose Mercury News

Powerhouse Cast Lifts S.F. Opera’s “Don Carlo”
“Tenor Michael Fabiano, making his role debut as Don Carlo, produced a seemingly endless stream of beautiful sound, richly colored, expressive, and with tremendous dynamic control. Could his voice have possibly grown substantially in size since last year’s Luisa Miller? It seems impossible, and yet his sound was hall-filling to a greater extent than previously.”
San Francisco Classical Voice

San Francisco Opera offers a riveting Don Carlo
“In the current SF Opera production of Don Carlo, two singers were consistently at the top of their game – tenor Michael Fabiano, who sang Don Carlo, and baritone Mariusz Kwiechien , who sang Rodrigo. Fabiano, who was previously heard here as Gennaro in Lucrezia Borgia (2011), Rodolfo in La Bohème (2014) and Rodolfo in Luisa Miller (2015), has a powerful, resonant voice with ringing high notes. Kwiechien, who sang here as Don Giovanni in 2007, possesses a rich, plangent baritone voice capable of great expression.”
The Berkeley Daily Planet

“From the first moments of the pasted on first act, Don Carlo’s romance “Io la vidi”… we know that tenor Fabiano was born to this role, finding sufficient Verdi vocal heft and color to compete musically with kings and queens and a spurned woman while he sustained the character of a weak and troubled epileptic youth.”
Opera Today

“At the June 24 performance at SFO, the thirty-two American tenor Michael Fabiano masterfully restored Don Carlo to the title character. From his entrance, Fabiano sang with both power and great delicacy, offering one of the most exciting tenor performances heard in years. In the opening scene, he was charming in his gentle teasing of Elisabetta, and only minutes later, deeply anguished as he watches her accept her fate as Filippo’s queen. One of the triumphs of Fabiano’s performance was its mercurial nature; he caught the constant shifts of Carlo’s fiery temperament and obsessive nature; this characterization seemed closer to the historical Carlos, Prince of Asturias, said to be mentally unstable, than any other I’ve seen on the opera stage. Fabiano’s performance almost seemed designed as a long, sustained emotional breakdown, yet it never ceased to be involving for a second. The tenor’s scenes with Mariusz Kwiecien as Posa were deeply moving, plumbing the depths of the characters’ affection for each other. And the heroic sound Fabiano exhibited in the confrontation with Philip (a memorable René Pape) in the auto-da-fé scene won’t soon be forgotten.”
Brian Kellow’s blog

SAN FRANCISCO OPERA CELEBRATES DAVID GOKLEY

The opera extravaganza Thursday evening, June 16, featured a nearly three-hour, star-studded medley of opera’s greatest hits and greatest high-note-hitters… Yet perhaps nothing got the audience quite so jazzed as the incendiary duet from Massenet’s “Manon” by Fabiano (who had already blown everyone away with a devastating selection from Verdi’s “Luisa Miller”) and Sierra, a performance so vocally steamy as to amount to opera porn.”
SF Gate

… soprano Nadine Sierra sang an absolutely incendiary duet with tenor Michael Fabiano, “Toi! Vous! N’est-ce plus ma main? “ from Jules Massenet’s Manon. Nadine Sierra’s portrayal of the repentant Manon declaring her love for Des Grieux and seeking to win him back was riveting in vocal and dramatic intensity. Tenor Michael Fabiano also brought down the house with his aria, “Quando le sere al placido,” from Verdi’s Luisa Miller.
The Berkeley Daily Planet

“Michael Fabiano, the opera world’s hottest young tenor, sang “Quando le sere al placido” from Verdi’s “Luisa Miller,” and radiated sex appeal in a duet with Sierra from Massenet’s “Manon.”
San Jose Mercury News

Michael Fabiano as Lensky in Eugene Onegin at the Royal Opera

December 25th, 2015

Eugene Oneging Royal Opera-2015

“If there is a star of this show, it is the tragic Lensky of the RO debutant Michael Fabiano, now singing meaty Verdi and Puccini roles around the world, but here demonstrating exquisite control in the pianissimo reprise of his big solo before the duel scene. I can’t think of a Lensky at Covent Garden who has held the audience so spellbound in 40 years of Onegin-going — possibly the great Nicolai Gedda in the late 1970s — but Fabiano has youth on his side. A glorious debut.”
The Sunday Times

Michael Fabiano had one hell of a house debut. What a gloriously rich and incredibly virile voice. There was plenty of squillo on display, burnished golden tone and clarion power, which led to the most exciting tenor debut at The Royal Opera in many a year. A would-be Corelli, the comparison is not inappropriate for once. This is a powerful yet beautifully controlled stentorian tenor, where grace and perfection of execution sit hand in hand with blazing trumpet-like high notes. The audience delivered him the biggest ovation of the night and rightly so.”
Opera Britannia

“Michael Fabiano’s heartrending Lensky is out of this world.”
The Independent

“As Lensky, Michael Fabiano was different again, giving an Italianate performance hot to the touch and sung with compelling intensity. Does he get a bonus for lying on stage as a corpse through the entire third act?”
The Financial Times

“Michael Fabiano, on his Royal Opera House debut, is an excellent Lensky with an aesthetically pleasing voice and a highly effective approach to dynamic variation. His sound in ‘Kuda, kuda vï udalilis’ has an almost dream-like quality, entirely befitting the act of looking back on happier, more carefree days.”
Music OMH

“An outstanding…house debut is made by the American tenor Michael Fabiano, already a favourite at Glyndebourne, whose personable Lensky is sung with the ideal mix of plangency and pungency – the aria was exquisitely done. He also makes a disturbingly convincing corpse.”
The Telegraph

“Bright and excited young tenor Michael Fabiano portrays the charming poet, Lensky. Making his debut at the ROH, Fabiano wins the audience with his convincing performance as an honest romantic that turns into a hothead when he sees his lover, Olga flirting with Onegin. By the end of scene 4, audience are blown away by Fabiano as he leaves the stage in a rage, singing of his betrayal from his lover and best friend. (Someone behind me was so touched by his performance that she burst into tears.)”
Trend FEM

“The gifted American tenor gives a show-stealing performance in a role that amounts to little more than an argument, a duel and a couple of arias. An heroic masculinity gives his ringing timbre the smack of greatness.”
What’sOnStage

” …Michael Fabiano’s house debut as Lensky more than matches the hopes that this young tenor is the man for the future.”
The Jewish Chronicle

“Michael Fabiano, in an otherwise dismayingly dry-eyed evening, was as natural a poet Lensky as you could wish for, singing his big aria with tear-jerking ardour – and, after the duel, having to lie on the stage dead-still until the end of the opera.”
Classical Source

 

VIDEO PLAYER

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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