"Stellar voices power Palm Beach Opera’s luxurious, heartfelt “La Traviata”"
“There are different ways to portray Alfredo’s father, Germont… In some interpretations, he’s 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 “Piango, piangi” (Weep, weep), as she agreed to the sacrifice. In “Di Provenza,” as she reminds Alfredo of his home, he sang with easy, flowing warmth.”
David Fleshler, South Florida Classical Review, 1/2019 ("La Traviata" Palm Beach Opera, Florida 2019)
"The 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 “Largo al factotum” vastly appreciated by the audience. Cavalletti owns all his character needs’; a handsome presence, a robust buffo baritone voice and the right vivacity as an actor."
Lorenzo Fiorito, Musica, 12/2018 ("Il barbiere di Siviglia" Teatro Verdi Salerno 2018)
"Massimo 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. “Il balen del suo sorriso”, much appreciated by the audience, carries the right dose of feverish ache, without easy concessions to the mere vocale exhibitionism.”"
Andrea Dellabianca, Connessi all'opera, 10/2018 ("Il trovatore" Teatro Regio Turin 2018)
“Massimo Cavalletti makes his debut as Conte di Luna with self-assuredness and a fluid messa di voce”
F. Erminio Polacci, Il corriere fiorentino 9/2018 ("Il trovatore" Teatro del Maggio, Florence 2018)
"Massimo Cavalletti as Escamillo was convincing. ... making his Arena debut, he outlines a toreador of secure attitude and good volume.”
Francesco Lodola, Ieri oggi domani about "Carmen" at the Arena di Verona, 8/2018
“The 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 Mimì in act III, for instance, and that of Act IV with Rodolfo.”
Stefano Ceccarelli, L'Ape Musicale about "La bohème" in Rome, 6/2018
“When, 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... . A performance, in short, that would make Rossini himself happy. (...) Almost all the singers were making their debut in Las Palmas, infected by Cavalletti's natural energy.”
Guillermo Garcia-Alcalde, La Provincia about "Il barbiere di Siviglia" in Las Palmas, 4/2018
"Baritone Massimo Cavalletti’s riveting performance seals the deal on this tight trio of talent."
Richard Carter, US Blasting News about "Lucia di Lammermoor" at the MET, 3/2018
“His 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 Opéra invited this baritone with an already well established reputation.”
Christian Peter, Forum Opéra about "Il barbiere di Siviglia" at the Paris Opera, 1/2018
“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 about the New Year's Eve Concert in Toronto, 12/2017
“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 about "Gianni Schicchi" at the Dutch National Opera, 11/2017
“...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