 |
Recent
Reviews of Operatic and
Concert
Appearances
|
Your
location: Home Page > Recent
Reviews
Recent Reviews Page Contents:
"His (Antonio Nagore as Radames) timbre was individual and
pleasing with ringing highs and more than enough power to soar over the
orchestra. . .His gestures and and vocal coloration helped portray the
conflicts between his private love and his duty to his state."
William
Thomas Walker: Classical Voice of North Carolina
January
31, 2008
“Antonio Nagore (Calaf) performs in a way that after
a little less than three hours you want to listen to him all over
again.”
Calcalist: Amir Schwarz
March 11, 2008
"As Calaf Antonio Nagore
delivered a great performance."
Globes: Omer Shomroni
March 8, 2008
"Radames was sung by tenor Antonio
Nagore, who reminded me of Jon Vickers in stature, rich timbre and
near-Helden fortissimo qualities. Nagore is fearless - going to
the brink to create great vocal excitement and brilliant high notes."
Baltimore
Sun: Mary Johnson
April 30, 2008
"Antonio Nagore is a
master and sings Hoffmann with
vocal assuredeness, and with the correct
expression for every situation, which began in an intoxicating way and
blossoms in the intoxication of falling in love."
Habama.co.il:
February 18, 2007
"Antonio Nagore
sings Hoffmann. . .He has a
huge sound, but because of his
expressiveness and his fearlessness through the roles difficulties, he
is more than persuasive."
E.Mago.co.il:
February 19, 2007
"So Antonio Nagore did what he knew: he showed the harshness of a
centurion's brutality. He later showed a warm timbre and even a
stamp of elegance he imposed upon the score's acrobatics."
Midi Libre: J.V.
June 10, 2007
"The
magnificent tenor Antonio Nagore was the villain Dick Johnson,
aka bandit Ramerez. I
know a bandit shouldn't be a glorious
tenor, but he falls in love with her (Minnie),
and straightens out in
the end, which is why he gets to be a tenor."
Montecito
Journal: Erin Graffy
May 4, 2006
"Playing Pollione was
American tenor Antonio Nagore, macho, yet with a beautiful soft-edged
voice."
The Sunday Times Argus: Jim Lowe
September 18, 2005
"He (Antonio Nagore) is clearly a talented actor with a solid and broad
vocal range."
The
Globe and Mail: Alan Conter
September 20,
2005
". .
.Nagore (Calaf) countered with
strength and depth of voice,
coupled with the posturing of confidence and authority.
Nagore's
tenor, as we've heard in Fresno in past seasons,
is not of the thin, high type. His voice has the depth of a
baritone and the range of a tenor. The quality of his singing
ulitmately enabled the audience to suspend its disbelief over the
mismatched text and blocking.
Throughout the opera, Nagore sang with great consistency,
so by the time he reached the "Nessun
Dorma" aria in the third act, it
did not raise the value of his stock. He sang the aria with all
of the passion he could muster, but he'd been doing that all night."
Fresno Bee: George Warren
May 7, 2005
"Tenor
Antonio Nagore is a warm, evenly produced voice with a real center to
it and a lovely sense of shading."
“The
tenor Antonio
Nagore has a rich and large voice, and a good scenic presence.”
Michèle Fizaine:
Midi Libre
March
5, 2005
"He
(Antonio Nagore) offered an honest
presentation of Cavaradossi."
Alain Breton: L'Herault
du Jour
March
12, 2005
"Antonio Nagore (Pollione) has
a huge voice and, in
the first scene, he commanded attention with his less than subtle
singing. Commanding, even awe
inspiring, he tackled the music with a brashness bordering on
recklessness. The militaristic overtones were effortlessly
encompassed. . .Later, Nagore's singing was intelligently
controlled. In the ensembles he was aware of the need for balance
and delicacy and his character's emotional development was immaculately
shaped."
Opera-Opera Magazine: Alan True
January 2005
"The
moment more true, vocally and dramatically, was the Andrea Chénier duet meeting the very real
Antonio Nagore and Susan Patterson. "
Claude Gingras: La Presse
December 6, 2004
"As
Calaf, Turandot's
maniacally determined Tartar suitor, tenor Antonio Nagore is suitably
brawny (there is nothing worse than a wimpy barbarian king) both
vocally and as a commanding stage presence. Singing with power
and conviction, he leans satisfyingly into "Nessun
Dorma,"
perhaps opera's greatest male aria."
Tony
Guzman: Sun Post
April 22,
2004
"Singing Calaf, tenor Antonio
Nagore, sang and acted the incognito Prince well. There was not a
mad rush for the doors once he completed the singing of "Nessun Dorma";
instead the audience preferred to stay and hear more of him. He
projects his voice nicely and has a warm manly tenor sound and a big
physique to match. Deservedly, he got the most applause at
curtain time. It was a discerning audience."
Rex
Alan Hearn: Coral Gable Gazette
April 22
- 28, 2004
"Andrea
Gruber's
powerfull Santuzza made Cavalleria
Rusticana exciting, and Antonio Nagore's Turiddu wasn't too far behind."
"Antonio Nagore
was appealingly nasty as Santuzza's fickle lover, Turiddu, but no one else in the cast
added much to the storm."
Patricia
Beach Smith: Sacramento Bee
September
23, 2003
"Antonio Nagore was an effective Turiddu.
. .He has a wide vibrato, like Gruber,. . .but he matched her
intensity, if not her musical nuances."
Michael Zwiebach: San
Francisco Classical Voice
September
23, 2003
"Antonio Nagore, who debuted as Calaf
last season in Pucinni's Turandot,.
. .singing brusquely but with enough vocal juice to make the
performance tell."
Joshua
Kosman: San Francisco Chronicle
September
22, 2003
"Nagore, as Don
José, produced a gradual undoing of his character that
flowed from beginning to end. He portrayed his conflict between
duty and passion so convincingly that one lost sight of the musician.
Nagore's tenor is of the rich ilk, not
piercing, but full-bodied and commanding. . .Nagore carried the whole
production
in his arms."
George
Warren: The Fresno Bee
May 4, 2003
"Tucson native, Antonio
Nagore, who had just sung a fine Pollione in Seattle, was a
warm voiced, believable Cavaradossi whose high notes rang out
easily to the top of the balcony."
"In the decade since he last graced the AOC stage, Nagore's voice has
grown in strength and agility to a large, masterful instrument.
But he proved himself a sensuous singer as well, infusing his love
scenes with Litherland with both tenderness and all consuming love."
Daniel
Buckley: Tucson Citizen
March 29, 2003
"as Pollione. . .
Antonio Nagore, a strong spinto with an Italianate sound.
Nagore's consistent, solid vocalism did the (difficult) job quite
well. .
."
David
Shengold: Classics Today.com
March 4, 2003
"Saturday's Pollione,
Antonio Nagore, offered a virile warmth that rang to the furthest
corners of the house."
Gavin
Borchert: Seattle Weekly
February 26 - March 4, 2003
"Nagore
brought a heroic quality to Pollione."
Mike
Murray: The Herald
February 26, 2003
"Antonio
Nagore's fine tenor adds depth to Pollione."
Lesley
Holdcroft: Queen Anne/Magnolia News
February 26, 2003
"Antonio Nagore's Cavaradossi was
both lover and politician. Not fooled by the "simulated"
execution, he registered a note of pending tragedy in his face and
voice. His warm, large tenor voice caressed the lyric phrases,
swelling to shine, stentorian heft when needed."
"No one is treated with greater violence in "Tosca" than Cavaradossi,
whom Antonio Nagore played as the consummate misunderstood
artist. The tenor possesses an attractive voice that he uses with
ardent
elegance.....But his attention to the text and his lyrical finesse
were assets in a part that can be played simply for tenorial affect."
Donald Rosenberg:
The
Plain Dealer
October 20, 2002
"The young American tenor Antonio Nagore was notable as
Pinkerton, enough of an actor to give the caddish character a
heart, enough of a singer to combine a robust, full delivery with
a gently poetic shaping."
Willa J. Conrad: The
Star Ledger
February 25, 2002
"Nagore was in his first
engagement with SO (Seattle Opera), and he displayed a rich and ringing
tenor. He was a true cad, with just the right amount of vocal
and physical swagger. His guilt and despair in the last act
were also utterfly convincing."
Gavin Borchert:
Seattle Weekly
January 17 - 23, 2002
"Antonio Nagore, in his local debut
Saturday night, was a strong-voiced Pinkerton, but one who
could turn a good-looking phrase as well. . .He has the voice for the
role."
R.M. Campbell: P-I
January 14, 2002
"Antonio Nagore, as B.F.
Pinkerton, made his Seattle opera debut in this production.
Possessed of a magnificent voice with a brilliant top and confident
presence, Nagore has sung this role most recently in Norway."
Frederick Frahm: The
Bellingham Herald
January 15, 2002
"As her love interest Pinkerton,
Antonio Nagore offered an open, glowing tenor, one throaty and rich in
texture. He seemed appropriately off the page, the callous
American burning through Japanese culture, a man barely noticing the
action around him."
Lesley Holdcroft:
Eastside Journal and South Country Journal
January 15, 2002
"American tenor, Antonio
Nagore sang a beautiful, fullbodied Pinkerton in his Seattle
Opera debut. His Pinkerton was not so much a villian
as a man who made a huge blunder, with tragic results."
Mike Murray: The
Herald
January 16, 2002
"Tenor, Antonio Nagore is boastful
in the role of Lieutenant Pinkerton. . .the robust looking
Nagore works well as a voracious seaman looking to devour the delicate
butterfly."
Caroline
Lippert-Burrows: Lake Forest Park Enterprise
January 17, 2002
Return to page contents
"Antonio Nagore's Don José was right on the money 9.9
times out of 10. Nagore's broad range of emotions was the one
area where anyone outdid Stilwell. Don
José is portrayed less innocently than in some productions,
slightly damaging the audience's sympathy for him, but Nagore still
created a multidimensional character with whom the audience could
empathize. 
Creating
a
José that was
deliberately naive in the beginning, blindly jealous in the middle and
murderously desperate in the end, Nagore let the audience experience
the ride with him. Nagore owned
the final act, playing the role of a desperate man mad in love so
convincingly that the quivering hands and detached lack of humanity
seemed frighteningly real."
Brent Olson:
WWW.Red-Mag.com
October 2001
"Antonio Nagore sang Don
José with a free, ample tenor voice. Nagore was right
on pitch dramatically as well as vocally as he portrayed José's
total disintegration. More important,
his singing gave the opera much of its dramatic impetus. At the conclusion, when the once-proud soldier
is a disheveled bum, Nagore made his desperation clear without going
over the top."
Catherine Reese
Newton: The Salt Lake Tribune
October 22, 2001
"As Don José, tenor
Antonio Nagore is outstanding. He is perfect as the free-spirited
Carmen's antithesis. They interact well with each other, and they
also derive much of their strength from each other. . . Nagore, too, is a remarkable vocalist. He
is magnificent in his role as the naive and innocent soldier. His
strong and vibrant tenor is a delight to hear, and his Act I duet with
Micaela is quite tender, as is his poignant 'Flower Song' in Act
II. And when he sings together with Stilwell (Carmen), Nagore is
absolutely tremendous, as in the final duet between Don José
and Carmen in Act IV. This scene is powerful and gripping and
frightening in the intensity of emotions expressed by the two singers,
a potent climax to an unforgettable evening."
Edward Reichel:
Deseret News
October 22, 2001
"Antonio Nagore sung with a rich and
honest tone as Faust, and his delivery was
full and consistent."
Liam Moran: The
McGill Daily
March 19, 2001
". . . the tenor Antonio Nagore has
a beautiful voice and as the quarry is very good in the role of Faust."
M.F.: Insieme
March 14, 2001
"This who
consecrate the
resented malaise during the opera in this concept is the Faust
of Antonio Nagore. Here, hats off! This
"vocalist of the opera", which artist who knows this that he is in
fact, who "lives" Faust to us, before us and in us. It
dominates, with the purest of grandness, he also is almost perpetually
on stage, all of this magic who is the stage craft who in fact adds
that bridge: who between in the soul. Endowed of a magnificent voice, it yields all
the inflexions of the role - to as many that the one be able to exhaust
by opposition has Mefistofele, Faust, himself, has a psychology
development of richness that we then discover always a detour unknown
until thevery moment, a sensation that he yields well. One wants the
review put in a large stage. Not any dithyrambe should yield justice
the pleasure that he then has to live in this production to follow the
wants and needs of Faust so uncanily by Nagore.
If there is a Heaven, Goethe and Boito at last must be pleased of
saturday evening when it now presented it to the doors of Paradise."
François
Tousignant: Le Devoir
March 12, 2001
"Another plus was Antonio Nagore, a
tenor from Arizona with a big, Italianate voice and a plaintive way
with a phrase. . . .Nagore created the congenial tenor sound
audiences crave from contemporary leading men and seldom receive."
Arthur Kaptains:
Montreal Gazette
February 28, 2001
"The most praise must be reserved
for tenor Antonio Nagore, who possessed the dramatic force and vocal
artistrythat proved ideal for Turandot's suitor, Calaf, a
central character, who is onstage for nearly the entire opera. His version of of the
third-act aria; Nessun dorma, one of the most famous in all
opera, was every bit as beautiful and captivating."
Kyle MacMillan: The
Denver Post
February 13, 2001
"Tenor Antonio Nagore, as Calaf,
came across as a first-class athletic tenor, who had the robust, big
voice to make his role as important as it was.
"Nessun dorma" was vibrant and memorable. . ."
Eleanor Keats: The
Villager
February 12, 2001
Return to page contents
"Antonio Nagore was an impressive Calaf
. . . This was the standard impulsive "unknown prince," whose
infatuation with the cruel Turandot is largely inexplicable. But
Nagore's singing was rich and varied, with reliable and ringing high
notes and with an extra, almost baritonal, weight to his voice, more a
Franco Corelli than a Jose Carreras. His Nessun Dorma, the aria
Luciano Pavarotti has made the anthem of international soccer, was
beautifully phrased."
Michael Anthony:
Minneapolis Star Tribune
November 14, 2000
"But his commanding voice, with its
warm burnished sound. . . His biggest moment, Nessun Dorma,
brought memories of the young Domingo."
William Randall
Beard: St. Paul Pioneer Press
November 13, 2000
"Luckily the American tenor Antonio
Nagore (who sang the role at one performance in September) wasn’t
otherwise occupied and managed to reach the theatre in time for the
third act. He has an ideal voice for the part and stepped admirably
into the breach, making it all the more obvious what had been lacking
in the preceding acts."
"Antonio Nagore, last seen here in
Dreamkeepers, is an excellent Cavardossi. The best example of
his effectiveness was the almost unbearable poignant performance of E
lucevan le stelle, the opera's other hit tune. When Nagore finished
this aria, collapsing into sobs, the audience did not applaud - not
because they didn't appreciate his performance, but because
it seemed almost too real, too heartfelt. No one wanted to disturb
the moment by clapping. Besides, Nagore got plenty of applause for the
Act One aria Recondita armonia, and for his duet with
Litherland (Tosca) on Qual occhio al mondo."
James D. Watts, Jr.:
Tulsa World
May 1, 2000
"Antonio Nagore sang a very exciting
Cavaradossi, helped to some extent by the
fact that his character was presented very traditionally and without
directorial "improvements". In the first two acts there was more
extroversion
than poetry in his Mario, but the extroversion was definitely exciting,
especially given the ring of his high notes. In E lucevan le stelle
Nagore offered some nice piano singing. . ."
"Antonio Nagore's "Cavaradossi"
became however a very positive surprise. His great tenor belongs to
them that are more heroic and refined that I have heard in some
time from the swedish scene. Thereto he showed his high notes to be
remarkably free and unforced."
Sven Andersson:
Hallands Nyheter
February 1, 2000
"Antonio Nagore has ensured himself
a place among the great tenors: A lavish timbre of
a supersinger with a workmanlike pragmaticism. The inlaid size comes straight, where he has
use for it; as if one thus holds it to the character."
Ulrik Cold:
Börsen
February 1, 2000
"Her lover Mario Cavaradossi
is worth loving just for his voice. A good, solid tenor voice with a
generous, balanced sound. To that must be added the Italian qualities
in the sound, as well as the fact that he doesn’t say no to a couple of
good old-fashioned, nowadays often rejected ‘Italian
sobs’. Not at all out of place in such a convincing portrait of Cavaradossi."
Jakob Wivel:
Jyllandsposten
January 30, 2000
"Antonio Nagore’s imposing physical
figure superbly corresponds with his singing and acting
identification, just as clear as dramatically expressive."
Martin Lagerholm:
Kristianstadsbladet
January 30, 2000
". . .Antonio Nagore as the lover Cavaradossi
sings both with power and expression. . ."
Henrik Halvarson:
Helsingsborg Dagblad
January 30, 2000
"Cavaradossi is on the
contrary a joy from first to last. American Antonio Nagore is a great
tenor, wonderfully open, agile, full of warmth and pasison. He alone is
worth the trip over The (Baltic) Strait."
Teresa Waskowska:
Ekstra Bladet Søndag
January 30, 2000
Return to Page Contents
"The American tenor Antonio Nagore had the right dimensions
for this typical heroic role. Big strength with a beautiful and
youthful timbre that fitted the role as a young poet. He also had a
natural and unaffected behavior."
Tore Lund:
Bergensavisen
October 27, 1999
"The tenor Antonio
Nagore sang the title role of Andrea Chénier. He had
displayed the qualities and dimensions and lifted them all into a
higher
plane by a couple of superb arias. Already by the Improvviso di
Chénier in Act I he showed his qualities, and in the final Come
un bel
di di Maggio in Act IV he created an artistic parallel to the
opening."
Idar Karevold:
Aftenposten
October 25, 1999
"Antonio Nagore we
have learned to know earlier. He was magnificent as the poet Andrea
Chénier. He had a sympathetic behavior, free from caprice,
loyal to the direction and wholeness of the performance."
"This means that to stage the opera Andrea
Chénier stands and falls with the tenor in the title role.
Den Norske Opera has been luck with their Andrea; Antonio Nagore. He
has got what it takes. His tenor is very beautiful, it has got the
power that is needed, 
and at the same time he has got an exceptionally pleasant, human, warm
and young "timbre", that is very appropriate for a role that first and
foremost is a young poet. How
often have we heard Andrea's main arias unpleasantly 'screamed' out by
powerful tenors with no poetry in their throat. With Nagore we a
tasteful, lyric singing. . .nothing could disturb his fine, cultivated
vocal interpretations. Scenically he was simple, true and free from
affectation."
Harald Kolstad:
Dagsavisen
October 25, 1999
"To interpret the title role Den
Norske Opera had got USA's most exciting tenors, Antonio Nagore. He has
visited our opera house several times and this time he showed us his
very best side. He is musically secure, and sings easily and
effortlessly. He gives his part life in his struggle to get the woman
he loves, Maddalena. . ."
Brita Skogly
Kraglund: Vårt Land
October 25, 1999
"American tenor Antonio Nagore is
spectacular as Manrico, with his fine, bright, bell-like tenor
and sexy, passionate stage presence."
Kate Herbert: The
Melbourne Times
March 31, 1999
"On opening night,
American tenor Antonio Nagore. . .sang in an attractively ardent
Italian style."
Neil Jillett: The
Sunday Age
April 4, 1999
"Nagore looks like
a young Victor Hugo and has just the right heroic note. His beautiful,
fully rounded tenor is steely in anger and confrontation but sensually
melting in the love scenes. His lovely declaration Ah si, ben mio
of Act III was sung sensitively with pianissimo."
John Slavin: The Age
March 29, 1999
"As the tenor, Carlo,
Antonio Nagore sang strongly and consistently. He has a stylish
voice. . ."
Paul Griffiths: The
New York Times
March 10, 1999
Return to Page Contents
"Nagore’s performances throughout the evening were in a similar vein.
He was most successful with the bigger, more extraverted tenor numbers,
such as Vesti la giubba from Leoncavallo’s Pagliacci
and Nessun Dorma from Puccini’s Turandot."
Jerome R. Sehulster:
The Advocate
November 17, 1998
"Also making his company debut as Mario
was the American tenor Antonio Nagore, who
has husky youthful energy and a bright, ringing voice. . .with gentle
lyricism, it was quite lovely."
Anthony Tommasini:
The New York Times
September 12, 1998
"Nagore from his first notes knows
how to be immediately passionate and enamored just the right amount:
his arias Recondita armonia and E lucevan
le stelle shows every bit of romantic expression, and it is his
round voice that reminds one a little of Carlo Bergonzi."
Franco Borelli:
Magazine (Oggi 7)
September 13, 1998
"Antonio Nagore. . .rang out clearly in
his defiant Victoria! and sounded warm and heartfelt by the
time he reached his big Act III aria."
Shirley Fleming: New
York Post
September 12, 1998
"Nagore made a very
strong impression. His
voice is pleasing in tone - warm, rounded, large
and unforced."
Mary Campbell:
Springfield Union
September 12, 1998
"Tenor Antonio Nagore stole the show
with his excellent voice and superlative character portrayal. He
stunned the audience with Vesti la giubba from I
Pagliacci. . .Although all the voices stirred the crowd, the
evening really belonged to Nagore."
Country Journal
August 27, 1998
"Nagore, on the other hand, is a new
talent for the Knoxville audience. With soaring range and force of
presence he commanded."
Bob Barrett:
Knoxville News-Sentinel
July 18, 1998
"As Canio,.
. .tenor Antonio Nagore sang with fire and mettle and was the
embodiment of jealous rage."
Jeff Bradley: The
Denver Post
May 5, 1998
"Nagore,. . .carried an intensity
that made his murderous outburst fully believable,
while his ringing tenor was a joy to hear - highlighted by the famous
Vesti la giubba."
Marc Shulgold: Rocky
Mountain News
May 4, 1998
". . .Antonio Nagore, as the Anglo
doctor Adam Wade. . .was consistently able to project his
ringing voice over the orchestra. He was most impressive in his two
arias - one in the first act. . .and in the second act - and
in the River duet with Ashley Putnam."
James D. Watts Jr.:
Tulsa World
March 9, 1998
Return to Page Contents
"As Calaf, Antonio Nagore did an amazing performance. A
powerful, beautiful voice, with a touching figure."
Martin Haug:
Drammens
T/B Bla
December 1, 1997
"Antonio Nagore was a powerful
performer. As a stage artist and singer he was the focus in the drama.
. . He showed as an strong willed, well articulated, a great figure,
and he suited the role very well."
Idar Karevold:
Aftenposten
December 1, 1997
"With an amazing voice and the
conventional tenor figure, Antonio Nagore managed to overcome the
unsympathetic Princess."
Reidar Storaas:
Bergens Tidende
December 1, 1997
"Even with a small
cold, Antonio Nagore sang the title role with cultivated timbre,
solid technique, great musicality, nothing showed us that he was
indisposed."
Harald Kolstad:
Dagsavisen Arbei
November 11, 1997
"American Antonio Nagore made a
stalwart Calaf; nevertheless he used his robust tenor
sensitively in negotiating high passages softly."
Horst Koegler: Opera
News
October 1997
"Antonio Nagore is
impressive as Calaf, not only through his seamless, yet
thoroughly
powerful legato, but also his shifting into a higher gear produces
a virtually electrifying 'ma il mio mistero'."
Horst Koegler: Welt
am Sonntag
June 1, 1997
"Antonio Nagore's tenor develops
thanks to the optimal focusing of his heroic power, without losing his
melting legato."
Marianne
Zelger-Vogt:
Neue Zürcher Zeitung
May 28, 1997
"Antonio Nagore, who sang Calaf
with his beautifully timbred tenor, received enthusiastic applause and
presented an impressive figure with his tall stature."
Winfried Wild:
Schwäbische Zeitung
May 27, 1997
"Tenor Antonio Nagore was a fine Ernani.
. .Nagore's open-throated vocalism recalled the Italian tenors of
yesteryear."
Peter Wynne: Bergen
County Record
April 4, 1997
"Antonio Nagore, who visited DNO for
the first time, in the role of Cavaradossi. He impressed us
with his great facility, with his dramatic voice he was cut out for
this part. He stood out with several vocal highlights, the biggest: the
third act with the famous E lucevan le stelle
to the tremendous joy of everyone."
Idar Karevold:
Aftenposten
January 1, 1997
Other pages on this Site:
This page
has been designed on Netscape Composer
This web
site is viewed best on Netscape 4.x or Internet Explorer 3.x or better
If there
is a problem viewing any part of this web site, please contact us