New Year's Eve Gala Concert - Toronto 2017
“First up was baritone Massimo Cavalletti, who offered a spirited “Largo al factotum,” from Il barbiere di Siviglia followed by a striking Toreador Song from Carmen, well supported by the 40-member chorus. Cavalletti’s warm baritone with its impressive high register, not to mention his engaging stage persona, got the proceedings off to a brilliant start. His third aria was “Eri tu” from Un ballo in maschera. Renato’s vengeance aria is quite challenging for a lyric baritone, but Cavalletti did beautifully, auguring well for his future forays into the more dramatic baritone repertoire.”
Joseph So, Ludwig van Toronto
Gianni Schicchi - Amsterdam 2017
“Massimo Cavalletti is remarkably good in this character role - with his warm timbre and in great shape, he is a dream Schicchi: handy, boorish, yet sympathetic.”
Mischa Spel, NCR.nl
“The title role was exquisitely portrayed by baritone Massimo Cavalletti, who imitated the deceased with a hilarious nasal voice.”
Merlijn Kerkhof, Volkskrant
"With the exception of the smart Schicchi, here generously and soundly sung by Massimo Cavalletti"
Peter van der Lint, Trouw
“Lucca born Massimo Cavalletti, at his role debut, opens his mouth and is Gianni Schicchi: because of his voice, timbre and accent, and mostly because of that congenital meanness which is, as Malaparte stated, a Tuscan distinctive trait (the residents of Pistoia however are immune from it, they say “zole” instead of “sole” and “zale” instead of sale, and they have a good soul and therefore are not Tuscan).
I don't think there is another opera so strictly connected to the language of the land where it takes place: Gianni Schicchi is an opera with a Tuscan subject, narrated by the greatest Tuscan poet in the Tuscan language, on a libretto written by a Toscan writer and set to music by a Tuscan composer. And as a Tuscan Cavalletti perfectly masters the parlance and doesn't need to counterfeit the pronunciation: there are no comic aspirated “C” (a distinctive trait of very bad Schicchis), but a great virtuosism that translates into spectacular finesses (I don't know how many in the audience have noticed the sublime “Campi di Pra'o) and in a most subtle game of accents and nuances. This said, his voice is beautiful and everything is played out by singing.”
Edoardo Saccenti, Operaclick
“The title role was in the hands of Massimo Cavalletti who was excellent. Cavalletti is a little young for this role and there was no attempt to make him appear older through the make-up. But since his daughter Lauretta in this production is a lively 16 years old girl it didn't matter. Schicchi primarily has to act and imitate [Buoso's] voice, singing more is more on second place in this role. And Cavalletti made a lot out of the singing. An excellent casting for this role."
Peter Franken, Opera Magazine
“The fact that the soloist ensemble was on a generally high level with the extraordinarily fascinating Schicchi of Massimo Cavalletti...”
Paul Korenhof, Opus Klassiek
“Massimo Cavalletti led a largely Italian cast as an unexaggerated, practical Schicchi, bringing clear diction and warm, attractive baritonal timbre.”
Matthew Rye, Bachtrack
“Schicchi, perfectly performed by a charismatic and ambiguous Massimo Cavalletti, who fascinates us with his broad and vigorous voice, manages to fool everyone...”
Cinzia Rota, Classical Agenda
“Massimo Cavaletti made his debut as Gianni Schicchi. To me he was a little too young, but if you think that the "real" Schicchi was only forty ... (…) he sang and acted more than exquisitely. His beautiful, warm baritone makes one associate it with young lovers, his portrayal was undoubtedly distinguished
Basia con fuoco
“...Massimo Cavalletti masterfully performed the role of the jealous husband.”
Kazachstanskaja Pravda on "Falstaff" at the Astana Opera, 9/2017
“In the male cast stood out ... especially thrirty-nine year old baritone Massimo Cavalletti, who makes the Marquis of Posa a generous but also meditative character, and excells in the duets with Roberto Aronica (Don Carlo)."
Giuseppe Pennisi, Musica on "Don Carlo" at the Maggio Musicale Florence, 5/2017
“Massimo Cavalletti’s Ford was Falstaff’s worthy counterpart.”
James Imam, Financial Times on "Falstaff" at La Scala, 2/2017
“Lucky for those attending the current run of the opera, the stars are in alignment--with Kristine Opolais (Mimi), Piotr Beczala (Rodolfo), Brigitta Kele (Musetta) and Massimo Cavalletti (Marcello) as the stellar central quartet and not a weak link down the line, under the sure and sweeping baton of Marco Armiliato.”“While Beczala and Cavalletti have performed the roles together elsewhere, they certainly couldn't have done it better, with the soaring tenor and the warm and smooth baritone meshing beautifully, particularly in their Act IV duet. Cavalletti and Opolais sang together at the Met when she made her surprise role debut as Mimi, replacing an ill colleague in an HD broadcast, and their interplay here seemed effortless, with him providing the strong shoulder she needs in Act III. With Marcello so central to the action (and actions of the other principals), it always surprises me that he has no aria of his own, but Cavalletti is the perfect foil in his arias with both Beczala and Musetta.”
Richard Sasanow, Broadway World Opera on "La bohème" at the Metropolitan Opera, 11/2016
“Massimo Cavalletti sang Marcello with a big, firm voice and remarkable expressive capacity.”
Valeria Pregliasco, Opera on "La bohème" at the Teatro Regio Turin, 10/2016
“The rest of the cast was also high profile, with the luxury of being able to rely on Massimo Cavalletti as Paolo Albiani, already a draft of his future Iago.”
Andrea Merli, Opera Actual on "Simon Boccanegra" at the Teatro alla Scala, 6/2016
"The mellow-voiced, appealing baritone Massimo Cavalletti"
Anthony Tommasini, The New York Times on "Manon Lescaut" at the Metropolitan Opera, 2/2016
“Massimo Cavalletti as Ford performed with his wonted professionalism, confirming himself as a credible singer and relaxed actor.”
Giancarlo Landini, L’Opera on "Falstaff" at the Teatro alla Scala, 10/2015
“A superb performance likewise from Massimo Cavalletti as Marcello. The baritone drew a precise portrait of the young painter with a heart of gold, employing an attractive and powerful, shapely voice; his acting likewise was spot-on. He was justly rewarded by the audience at the end of the performance.”
Roberta Pacifico, OperaClick on "La bohème" at the Teatro alla Scala, 08/2015
“In the title role one found in Massimo Cavalletti (Ford in Falstaff and Marcello in La bohème at the Dutch National Opera) a singer who has everything that Rossini’s Figaro demands: an elegant baritone, exuberance, and just the right wiliness.”
Mordechai Aranowicz, OperaMagazine.nl on "Il barbiere di Siviglia" at the Teatro alla Scala, 08/2015
"Vocal excellence continued with Massimo Cavalletti’s Belcore. His interpretation was not only memorable for a credible swaggering stage persona (with lots of crotch re-adjustments) but for outstanding vocal qualities, especially a ringing, effortless top register. The higher tessitura of the role held no horrors at all – the top F naturals on “No, no” in Act I were as clarion-like as Dulcamara’s trumpet."
Jonathan Sutherland, Bachtrack on "L'elisir d'amore" at the Zurich Opera House, 06/2015
“Very pleasing the proud and dashing Escamillo of baritone Massimo Cavalletti....”
Andrea Merli, Opera Áctual on "Carmen" at the Teatro alla Scala, 06/2015
“Baritone Massimo Cavalletti was an elegant Escamillo with a warm, large, and bright voice, and was much applauded.”
Fernando Sans Rivière, Beckmesser on "Carmen" at the Liceu Barcelona, 04/2015
“... an impressive Riccardo. His warm, generous baritone matched the full, rich bass of Riccardo Zanellato and made for some very satisfying duetting.”
Juliet Giraldi, Opera Now on "I puritani" at the Florence Opera House, 01/2015
"Both leads are upstaged by Massimo Cavalletti's flamboyant, decently sung Marcello..."
Hugh Canning, The Sunday Times on "La bohème" at the Dutch National Opera, 12/2014
"The baritone Massimo Cavalletti sang the toreador Escamillo smoothly and evenly... ."
Zachary Woolfe, The New York Times on "Carmen" at the Metropolitan Opera New York, 10/2014