{"id":8631,"date":"2016-01-10T16:10:29","date_gmt":"2016-01-10T15:10:29","guid":{"rendered":"http:\/\/www.massimocavalletti.com\/wp\/it\/?page_id=8631"},"modified":"2024-12-18T12:16:11","modified_gmt":"2024-12-18T11:16:11","slug":"recensioni","status":"publish","type":"page","link":"https:\/\/www.massimocavalletti.com\/it\/recensioni\/","title":{"rendered":"Recensioni"},"content":{"rendered":"\n

In his debut in his hometown in a complete opera, the baritone Massimo Cavalletti gave life to a powerful and evil Baron Scarpia\u2026 and thrilled the audience from the moment he entered: scenically self-confident, vocally capable of conveying every nuance of the character, giving value and weight to every word so that his personality and the contrast with the fragility of Tosca and the irrational impetuosity of Cavaradossi appear clearly, he achieved incredible success.
\n\u201cAl suo debutto nella sua citt\u00e0 in un\u2019opera completa, il baritono Massimo Cavalletti ha dato vita ad un Barone Scarpia potente e malefico\u2026 e ha emozionato il pubblico fin dal suo ingresso: scenicamente sicuro di s\u00e9, vocalmente capace di restituire ogni sfumatura del personaggio dando valore e peso ad ogni parola cos\u00ec che appaia chiara la sua personalit\u00e0 ed il contrasto con la fragilit\u00e0 di Tosca e l\u2019irrazionale irruenza di Cavaradossi, ha riscosso un successo incredibile.\u201d(link<\/a>)<\/p>\n

Stefano Mecenate, PensaLibero.it , 11\/2024 (\u201eTosca\u201c, Teatro del Giglio Giacomo Puccini)<\/strong><\/p>\n<\/div>\n

The palm goes without a doubt to Massimo Cavalletti, excellent in every way as Baron Scarpia. Hieratic and austere, he captures attention with each of his entrances; there is certainly a natural charisma that helps, but the depth of this acting performance is very high and nothing is left to chance: Cavalletti gives the right \u2013 indeed, the exact \u2013 weight to every phrase, every accent, every word, even the most marginal expressions (in this performance he pronounces the most peremptory \u00abprestate per il Te Deum\u00bb that the writer has heard). Added to this is the very careful chiselling of the phrasing, a vocal instrument of which the baritone has an almost perfect control and also endowed not only with a beautiful timbre but also with an evident uniformity between the registers, even in the transition areas. In short, Cavalletti\u2019s Scarpia alone was worth the price of the ticket.
\n\u201cLa palma va senza ombra di dubbio a Massimo Cavalletti, eccellente in tutto e per tutto come barone Scarpia. Ieratico e austero, cattura l\u2019attenzione a ogni suo ingresso; senz\u2019altro c\u2019\u00e8 un carisma naturale che aiuta, ma lo spessore di questa prova attoriale \u00e8 altissimo e nulla \u00e8 lasciato al caso: Cavalletti conferisce il giusto \u2013 anzi, l\u2019esatto \u2013 peso a ogni frase, ogni accento, ogni parola, persino le espressioni pi\u00f9 marginali (in questa recita pronuncia il pi\u00f9 perentorio \u00abapprestate per il Te Deum\u00bb che chi scrive abbia udito). A questo si sommano l\u2019attentissima cesellatura del fraseggio, uno strumento vocale di cui il baritono ha un controllo pressoch\u00e9 perfetto e pure dotato non solo di un bel timbro ma anche di una evidente uniformit\u00e0 fra i registri, persino nelle zone di passaggio. In breve, da solo lo Scarpia di Cavalletti meritava il prezzo del biglietto. \u201c( link<\/a> )<\/p>\n

Luca Fialdini, L\u2019ape musicale<\/span><\/span> , 11\/2024 (\u201eTosca\u201c,Teatro del Giglio Giacomo Puccini<\/strong>)<\/strong><\/p>\n<\/div>\n

Massimo Cavalletti scores as Carlo with his profound baritone and does justice to the dark, vengeful character in every respect.
\nMassimo Cavalletti interpreta Carlo con il suo profondo baritono e rende giustizia al personaggio oscuro e vendicativo sotto ogni aspetto.
\n\u201cMassimo Cavalletti punktet als Carlo mit profundem Bariton und wird dem dunklen, rachs\u00fcchtigen Charakter in jeder Hinsicht gerecht.\u201d(link<\/a>)<\/p>\n

Ihre Meinung, Online Music Magazine<\/em>, 11\/2024 (\u201eLa Forza del destino\u201c, Aalto-Musiktheater Essen<\/em>)<\/strong><\/p>\n<\/div>\n

Baritone Massimo Cavaletti as his bitter archenemy Don Carlo di Vargas convinced with a powerful and imposing voice and received much applause and cheers after his big solo scene.
\nIl baritono\u00a0Massimo Cavaletti\u00a0nei panni del suo acerrimo nemico Don Carlo di Vargas ha impressionato con la sua voce potente e impressionante e ha ricevuto molti applausi e grida di bravo dopo la sua grande scena solista.
\n\u201cDer Bariton\u00a0Massimo Cavaletti\u00a0als sein erbitterter Erzfeind Don Carlo di Vargas \u00fcberzeugte mit kr\u00e4ftiger und imposanter Stimme und erhielt bereits nach seiner gro\u00dfen Soloszene viel Applaus und Bravorufe.\u201d (link<\/a>)<\/p>\n

Detlef Obens<\/em>, Das Opernmagazin<\/em>, 11\/2024 (\u201eLa Forza del destino\u201c, Aalto-Musiktheater Essen<\/em>)<\/strong><\/p>\n<\/div>\n

A perfect Verdi voice, which baritone Massimo Cavalletti also possesses.
\nUna perfetta voce verdiana, di cui dispone anche il baritono Massimo Cavalletti.
\n\u201cEine perfekte Verdi-Stimme, die auch Bariton Massimo Cavalletti besitzt.\u201d (link<\/a>)<\/p>\n

Sabine Weber, Klassik Favori, 11\/2024 (\u201eLa Forza del destino\u201c, Aalto-Musiktheater Essen<\/em>)<\/strong><\/p>\n<\/div>\n

As his opponent Carlos, the baritone Massimo Cavalletti impresses with his beautifully timbred voice, perfectly suited to expressing the imperious and sly colors of the part. Puerta and Cavaletti unite in a vocal climax in the oath duet in the third act, which seems like a preliminary study for the upcoming bravura piece Carlo\/Posa in Don Carlos.
\nDon Carlo di Vargas, il baritono Massimo Cavalletti impressiona con la sua voce dal bellissimo timbro, ideale per esprimere i colori imperiosi e astuti del ruolo. Puerta e Cavaletti si uniscono in un climax vocale nel duetto giuramento del terzo atto, che sembra uno studio preliminare per l\u2019imminente pezzo di bravura Carlo\/Posa in Don Carlos.
\n\u201cAls sein Gegenspieler Carlos beeindruckt der Bariton Massimo Cavalletti mit seiner sch\u00f6n timbrierten Stimme, bestens geeignet, die herrischen wie die durchtriebenen Farben der Partie zum Ausdruck zu bringen. Zu einem vokalen Gipfelpunkt vereinen sich Puerta und Cavaletti im Schwurduett des dritten Akts, das wie eine Vorstudie des kommenden Bravourst\u00fccks Carlo\/Posa im Don Carlos anmutet.\u201d (link<\/a>)<\/p>\n

Dr. Ralf Siepmann, Opera Online, 11\/2024 (\u201eLa Forza del destino\u201c, Aalto-Musiktheater Essen<\/em>)<\/strong><\/p>\n<\/div>\n

The baritone Massimo Cavaletti as his bitter archenemy Don Carlo di Vargas convinced with a powerful and imposing voice and received much applause and cheers after his big solo scene.
\nIl baritono Massimo Cavaletti nei panni del suo acerrimo nemico Don Carlo di Vargas ha impressionato con la sua voce potente e impressionante e ha ricevuto molti applausi e grida di bravo dopo la sua grande scena solista.
\n\u201cDer Bariton Massimo Cavaletti als sein erbitterter Erzfeind Don Carlo di Vargas \u00fcberzeugte mit kr\u00e4ftiger und imposanter Stimme und erhielt bereits nach seiner gro\u00dfen Soloszene viel Applaus und Bravorufe.\u201d(link<\/a>)<\/p>\n

Detlef Obens, Der Opernfreund, 11\/2024 (\u201eLa Forza del Destino\u201c, Aalto-Musiktheater Essen<\/em>)<\/strong><\/p>\n<\/div>\n

Massimo Cavalletti was completely convicing as Conte di Luna.<\/p>\n

Roberto Iovino, La Repubblica, 11\/2019 (\u201eIl trovatore\u201c, Teatro Carlo Felice 2019)<\/strong><\/p>\n<\/div>\n

Massimo Cavalletti\u2019s Conte di Luna stands out for his dark timbre and full-bodied voice, with secure high notes, as well as for a strong propensity to good phrasing; he sings a respectable \u201cBaleno\u201d and a self-assured \u201cPer me, ora fatal.<\/p>\n

Luigi Raso, L\u2019Ape musicale, 10\/2019 (\u201eIl trovatore\u201c, Teatro Verdi di Salerno, 2019)<\/strong><\/p>\n<\/div>\n

\u201eMassimo Cavalletti was completely convicing as Conte di Luna.\u201c<\/p>\n

Roberto Iovino, La Repubblica, 11\/2019 (\u201eIl trovatore\u201c, Teatro Carlo Felice 2019)<\/strong><\/p>\n

\n
\n
<\/div>\n<\/div>\n<\/div>\n

\n<\/div>\n

Massimo Cavalletti\u2019s Conte di Luna stands out for his dark timbre and full-bodied voice, with secure high notes, as well as for a strong propensity to good phrasing; he sings a respectable \u201cBaleno\u201d and a self-assured \u201cPer me, ora fatal\u201c.<\/p>\n

\n

Luigi Raso, L\u2019Ape musicale, 10\/2019 (\u201eIl trovatore\u201c, Teatro Verdi di Salerno, 2019)<\/strong><\/p>\n<\/div>\n

\n<\/div>\n

\n
\n
\n

\u201cAnother baritone at his role debut, Massimo Cavalletti, sang the Sunday performance of October 20. He overcame the ordeal with flying colors, because taking over Enkhbat was no joke, and he displayed great flexibility, richness of nuances, powerful vocal production, always fluent and never forced. He also received a well-deserved ovation and on stage as an interpreter he was impotent and even superior to his colleague, at the least in the invective \u201cLo vedremo, o veglio audace\u201d, characterized by a strong expressive vigor.\u201d<\/p>\n

Andrea Merli, I teatri dell\u2019Est, 10\/2019 (\u201eErnani\u201c, Teatro Coccia di Novara, 2019)<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cMassimo Cavalletti made an imposing presence as Francesco, (\u2026) with his rich barolo tone and fierce declamation. He was especially gripping in \u201cPareami che sorto da lauto convito,\u201d his terrifying account of his guilt-ridden nightmares.\u201d<\/p>\n

\n

Eric Simpson, OperaWire, 7\/2019 (\u201cI masnadieri\u201d, Teatro alla Scala 2019)<\/strong><\/p>\n<\/div>\n

\n
<\/div>\n<\/div>\n

\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n
\n

\u201cThe baritone Massimo Cavalletti stood out as a magnificent \u201cLescaut\u201d. He is possibly the most Puccinian singer, by voice and style, on stage. His phrasing and voice production were impeccable (curiously he is a native of Lucca, the same town where Puccini was born).\u201d<\/p>\n<\/div>\n

\n

Fernando Peregrin Gutierrez, Musica Clasica BA, 4\/2019 (\u201cManon Lescaut\u201d, Teatro alla Scala 2019)<\/strong><\/p>\n<\/div>\n

\n
<\/div>\n<\/div>\n

\u00a0<\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cStellar voices power Palm Beach Opera\u2019s luxurious, heartfelt \u201cLa Traviata\u201d\u201d<\/p>\n

\u201cThere are different ways to portray Alfredo\u2019s father, Germont\u2026 In some interpretations, he\u2019s an imposing patriarch, in others a warm father figure. The baritone Massimo Cavalletti opted for warmth. Appearing as the portrait of middle-class respectability, with his gray beard, dark suit and bowler hat, he sang with a golden, rich legato as he persuaded Violetta to leave Alfredo for the good of his family. His voice took on a dark luster in his duet with her, as he sang \u201cPiango, piangi\u201d (Weep, weep), as she agreed to the sacrifice. In \u201cDi Provenza,\u201d as she reminds Alfredo of his home, he sang with easy, flowing warmth.\u201d<\/p>\n

D<\/strong>avid Fleshler, South Florida Classical Review, 1\/2019 (\u201cLa Traviata\u201d Palm Beach Opera, Florida 2019)<\/strong><\/p>\n<\/div>\n<\/div>\n

\n
<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cThe plot was set in motion by Figaro, interpreted with great charm by baritone Massimo Cavalletti, who sang some of the most virtuoso passagework with great bravura, particularly the cavatina \u201cLargo al factotum\u201d vastly appreciated by the audience. Cavalletti owns all his character needs\u2019; a handsome presence, a robust buffo baritone voice and the right vivacity as an actor.\u201d<\/p>\n

Lorenzo Fiorito, Musica, 12\/2018 (\u201cIl barbiere di Siviglia\u201d Teatro Verdi Salerno 2018)<\/strong><\/p>\n<\/div>\n<\/div>\n

\n
<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cMassimo Cavalletti as Conte di Luna has a rich timbre and a particularly virile voice, which never fails to be also pleasantly seducing, just like his stage demeanor. In this occasion he is in particular good shape, with a well controlled voice production, and always careful that the nobility typical of the Verdi baritone never disappears. \u201cIl balen del suo sorriso\u201d, much appreciated by the audience, carries the right dose of feverish ache, without easy concessions to the mere vocale exhibitionism.\u201d\u201d<\/p>\n

Andrea Dellabianca, Connessi all\u2019opera, 10\/2018 (\u201cIl trovatore\u201d Teatro Regio Turin 2018)<\/strong><\/p>\n<\/div>\n<\/div>\n

\n
<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cMassimo Cavalletti makes his debut as Conte di Luna with self-assuredness and a fluid messa di voce\u201d<\/p>\n

F. Erminio Polacci, Il corriere fiorentino 9\/2018 (\u201cIl trovatore\u201d Teatro del Maggio, Florence 2018)<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\u201cMassimo Cavalletti as Escamillo was convincing. \u2026 making his Arena debut, he outlines a toreador of secure attitude and good volume.\u201d<\/p>\n

Francesco Lodola, Ieri oggi domani about \u201cCarmen\u201d at the Arena di Verona, 8\/2018<\/strong><\/p>\n

\u00a0<\/p>\n<\/div>\n

\n
\n
\n

\u201cThe Marcello of Massimo Cavalletti is basically perfect: a ringing voice that can be heard well, meaty and truly baritonal, bent to the various nuances of the singing of his role: how not to commend him for the duet with Mim\u00ec in act III, for instance, and that of Act IV with Rodolfo.\u201d<\/p>\n

Stefano Ceccarelli, L\u2019Ape Musicale about \u201cLa boh\u00e8me\u201d in Rome, 6\/2018<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n
\n

\u201cWhen, in the first place, the great baritone Massimo Cavalletti appears in those sets and intones a Largo al factotum unsurpassable from a vocal point of view and for gestural inventive, one understands that something great is happening. And when, stimulated by the clamor of the audience, he encores it surpassing himself, it is already very clear that the grace, the power, the elastic and visual elasticity, the boast of his very long high notes and everything that this protagonist displays has the stamp of the exceptional\u2026 . A performance, in short, that would make Rossini himself happy. (\u2026) Almost all the singers were making their debut in Las Palmas, infected by Cavalletti\u2019s natural energy.\u201d<\/p>\n

Guillermo Garcia-Alcalde, La Provincia about \u201cIl barbiere di Siviglia\u201d in Las Palmas, 4\/2018<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n
\n

\u201cBaritone Massimo Cavalletti\u2019s riveting performance seals the deal on this tight trio of talent.\u201d<\/p>\n

Richard Carter, US Blasting News about \u201cLucia di Lammermoor\u201d at the MET, 3\/2018<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cHis Figaro caused a sensation, his voice is large and gifted with a resonant timbre, his top is insolent and the character is completely convincing. It was high time that the Op\u00e9ra invited this baritone with an already well established reputation.\u201d<\/p>\n

Christian Peter, Forum Op\u00e9ra about \u201cIl barbiere di Siviglia\u201d at the Paris Opera, 1\/2018<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cFirst up was baritone Massimo Cavalletti, who offered a spirited \u201cLargo al factotum,\u201d from Il barbiere di Siviglia followed by a striking Toreador Song from Carmen, well supported by the 40-member chorus. Cavalletti\u2019s 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 \u201cEri tu\u201d from Un ballo in maschera. Renato\u2019s 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.\u201d<\/p>\n

Joseph So, Ludwig van Toronto about the New Year\u2019s Eve Concert in Toronto, 12\/2017<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cMassimo Cavalletti is remarkably good in this character role \u2013 with his warm timbre and in great shape, he is a dream Schicchi: handy, boorish, yet sympathetic.\u201d<\/p>\n

Mischa Spel, NCR.nl about \u201cGianni Schicchi\u201d at the Dutch National Opera, 11\/2017<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201c\u2026Massimo Cavalletti masterfully performed the role of the jealous husband.\u201d<\/p>\n

Kazachstanskaja Pravda on \u201cFalstaff\u201d at the Astana Opera, 9\/2017<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cIn the male cast stood out \u2026 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).\u201d<\/p>\n

Giuseppe Pennisi, Musica on \u201cDon Carlo\u201d at the Maggio Musicale Florence, 5\/2017<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cMassimo Cavalletti\u2019s Ford was Falstaff\u2019s worthy counterpart.\u201d<\/p>\n

James Imam, Financial Times on \u201cFalstaff\u201d at La Scala, 2\/2017<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cLucky for those attending the current run of the opera, the stars are in alignment\u2013with 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.\u201d\u201cWhile Beczala and Cavalletti have performed the roles together elsewhere, they certainly couldn\u2019t 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.\u201d<\/p>\n

Richard Sasanow, Broadway World Opera on \u201cLa boh\u00e8me\u201d at the Metropolitan Opera, 11\/2016<\/strong><\/p>\n

\u00a0<\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cMassimo Cavalletti sang Marcello with a big, firm voice and remarkable expressive capacity.\u201d<\/p>\n

Valeria Pregliasco, Opera on \u201cLa boh\u00e8me\u201d at the Teatro Regio Turin, 10\/2016<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cThe 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.\u201d<\/p>\n

Andrea Merli, Opera Actual on \u201cSimon Boccanegra\u201d at the Teatro alla Scala, 6\/2016<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cMassimo Cavalletti as Ford performed with his wonted professionalism, confirming himself as a credible singer and relaxed actor.\u201d<\/p>\n

Giancarlo Landini, L\u2019Opera on \u201cFalstaff\u201d at the Teatro alla Scala, 10\/2015<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cA superb performance likewise from Massimo Cavalletti as Marcello. \u00a0The 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. \u00a0He was justly rewarded by the audience at the end of the performance.\u201d<\/p>\n

Roberta Pacifico, OperaClick on \u201cLa boh\u00e8me\u201d at the Teatro alla Scala, 08\/2015<\/b><\/p>\n

\u00a0<\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cIn the title role one found in Massimo Cavalletti (Ford in Falstaff and Marcello in La boh\u00e8me at the Dutch National Opera) a singer who has everything that Rossini\u2019s Figaro demands: an elegant baritone, exuberance, and just the right wiliness.\u201d<\/p>\n

Mordechai Aranowicz, OperaMagazine.nl on \u201cIl barbiere di Siviglia\u201d at the Teatro alla Scala, 08\/2015<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cVocal excellence continued with Massimo Cavalletti\u2019s 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 \u2013 the top F naturals on \u201cNo, no\u201d in Act I were as clarion-like as Dulcamara\u2019s trumpet.\u201d<\/p>\n

Jonathan Sutherland, Bachtrack on \u201cL\u2019elisir d\u2019amore\u201d at the Zurich Opera House, 06\/2015<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cVery pleasing the proud and dashing Escamillo of baritone Massimo Cavalletti\u2026.\u201d<\/p>\n

Andrea Merli, Opera \u00c1ctual on \u201cCarmen\u201d at the Teatro alla Scala, 06\/2015<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cBaritone Massimo Cavalletti was an elegant Escamillo with a warm, large, and bright voice, and was much applauded.\u201d<\/p>\n

Fernando Sans Rivi\u00e8re, Beckmesser on \u201cCarmen\u201d at the Liceu Barcelona, 04\/2015<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201c\u2026 an impressive Riccardo. His warm, generous baritone matched the full, rich bass of Riccardo Zanellato and made for some very satisfying duetting.\u201d<\/p>\n

Juliet Giraldi, Opera Now on \u201cI puritani\u201d at the Florence Opera House, 01\/2015<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cBoth leads are upstaged by Massimo Cavalletti\u2019s flamboyant, decently sung Marcello\u2026\u201d<\/p>\n

Hugh Canning, The Sunday Times on \u201cLa boh\u00e8me\u201d at the Dutch National Opera, 12\/2014<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n
\n

\u201cThe baritone Massimo Cavalletti sang the toreador Escamillo smoothly and evenly\u2026 .\u201d<\/p>\n

Zachary Woolfe, The New York Times on \u201cCarmen\u201d at the Metropolitan Opera New York, 10\/2014<\/strong><\/p>\n<\/div>\n<\/div>\n

\n<\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-8631","page","type-page","status-publish","hentry"],"yoast_head":"\nRecensioni - Massimo Cavalletti - Italian baritone<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.massimocavalletti.com\/it\/recensioni\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recensioni - Massimo Cavalletti - Italian baritone\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.massimocavalletti.com\/it\/recensioni\/\" \/>\n<meta property=\"og:site_name\" content=\"Massimo Cavalletti - Italian baritone, opera singer\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/maxcavalletti\" \/>\n<meta property=\"article:modified_time\" content=\"2024-12-18T11:16:11+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Tempo di lettura stimato\" \/>\n\t<meta name=\"twitter:data1\" content=\"15 minuti\" \/>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Recensioni - Massimo Cavalletti - Italian baritone","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.massimocavalletti.com\/it\/recensioni\/","og_locale":"it_IT","og_type":"article","og_title":"Recensioni - Massimo Cavalletti - Italian baritone","og_url":"https:\/\/www.massimocavalletti.com\/it\/recensioni\/","og_site_name":"Massimo Cavalletti - Italian baritone, opera singer","article_publisher":"https:\/\/www.facebook.com\/maxcavalletti","article_modified_time":"2024-12-18T11:16:11+00:00","twitter_card":"summary_large_image","twitter_misc":{"Tempo di lettura stimato":"15 minuti"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.massimocavalletti.com\/it\/recensioni\/","url":"https:\/\/www.massimocavalletti.com\/it\/recensioni\/","name":"Recensioni - Massimo Cavalletti - Italian baritone","isPartOf":{"@id":"https:\/\/www.massimocavalletti.com\/it\/#website"},"datePublished":"2016-01-10T15:10:29+00:00","dateModified":"2024-12-18T11:16:11+00:00","breadcrumb":{"@id":"https:\/\/www.massimocavalletti.com\/it\/recensioni\/#breadcrumb"},"inLanguage":"it-IT","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.massimocavalletti.com\/it\/recensioni\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.massimocavalletti.com\/it\/recensioni\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.massimocavalletti.com\/it\/"},{"@type":"ListItem","position":2,"name":"Recensioni"}]},{"@type":"WebSite","@id":"https:\/\/www.massimocavalletti.com\/it\/#website","url":"https:\/\/www.massimocavalletti.com\/it\/","name":"Massimo Cavalletti - Italian baritone, opera singer","description":"","publisher":{"@id":"https:\/\/www.massimocavalletti.com\/it\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.massimocavalletti.com\/it\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"it-IT"},{"@type":"Organization","@id":"https:\/\/www.massimocavalletti.com\/it\/#organization","name":"Massimo Cavalletti","url":"https:\/\/www.massimocavalletti.com\/it\/","logo":{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/www.massimocavalletti.com\/it\/#\/schema\/logo\/image\/","url":"https:\/\/www.massimocavalletti.com\/wp\/wp-content\/uploads\/2015\/11\/Logo-Massimo-Cavalletti.png","contentUrl":"https:\/\/www.massimocavalletti.com\/wp\/wp-content\/uploads\/2015\/11\/Logo-Massimo-Cavalletti.png","width":211,"height":81,"caption":"Massimo Cavalletti"},"image":{"@id":"https:\/\/www.massimocavalletti.com\/it\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/maxcavalletti","https:\/\/www.youtube.com\/user\/unmaxfan?feature=mhee","https:\/\/instagram.com\/maxcavalletti\/"]}]}},"_links":{"self":[{"href":"https:\/\/www.massimocavalletti.com\/it\/wp-json\/wp\/v2\/pages\/8631","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.massimocavalletti.com\/it\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.massimocavalletti.com\/it\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.massimocavalletti.com\/it\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.massimocavalletti.com\/it\/wp-json\/wp\/v2\/comments?post=8631"}],"version-history":[{"count":0,"href":"https:\/\/www.massimocavalletti.com\/it\/wp-json\/wp\/v2\/pages\/8631\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.massimocavalletti.com\/it\/wp-json\/wp\/v2\/media?parent=8631"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}