“Marco Caria, as Il Conte di Luna, sports a manly baritone voice, steady and warm, and performs his aria Il balen in Act II with a good legato; the cabaletta is also of a very good standard.“ Original: “Marco Caria as Il Conte di Luna has a manly baritone voice, steady, warm and sings his [...]
Il Trovatore - Macerata Opera Festival, August 2016 Read More »
“In the role of Enrico Marco Caria (first cast) uses well a good baritone voice, wide and full-bodied, leans well, sustains the sounds and holds the high notes (“Cruda, funesta smania”).” Giosetta Guerra for TeatriOnline.it Director: Riccardo Muti / Director: Damiano Michieletto
Lucia di Lammermoor - Rome Opera House, December 2015 Read More »
“The already high vocal standard was further raised by the intensely tormented character played with mastery by principal baritone Marco Caria.” Original: “The high vocal standard was carried even further by ... principal baritone Marco Caria's heartrendingly anguished performances. ”Janos Gardonyi, TheWholeNote.com “Italian baritone Marco Caria sings the role of the Duke nicely
Roberto Devereux DVD - Teatro Real, Madrid, OCTOBER 2015 Read More »
“Marco Caria, in the role of Enrico, with his full-bodied and resonant baritone, offered a pleasant counterpoint to Ms. Yende and Mr. Kang. He never forced the emission, but shaped the phrases with genuine emotional involvement.” Original: “Marco Caria as Enrico, with his grainy and booming baritone, was a delightful counterpoint to
Lucia di Lammermoor - Deutsche Oper Berlin, October 2015 Read More »
“In the portrait offered by baritone Marco Caria, the wicked Paolo Albiani is a demonic figure, made all the more dangerous by the charming way in which he resonates evil. In the opera's Prologue, Caria renders the Allegro moderato “L'atra magion vedete?.. de’ Fieschi è l'empio ostello” with an almost reptilian cunning, and carries out his intrigues
Simon Boccanegra - CD REVIEW, May 27, 2015 Read More »
“Baritone Marco Caria (Enrico), who serves as a third wheel as Lucia's cruel brother and Edgardo's implacable antagonist , deserves credit for effectively reconciling the character's viciousness with the elegance befitting the romantic baritone (the one that, with good grace of the Verdians, it was Donizetti who first pioneered).” Fulvio Stefano
Lucia di Lammermoor - Nationale Opera Nederlands, Amsterdam, March 2015 Read More »
“Marco Caria's Enrico adapts the part to his vocal possibilities, turning out among other things in line with a direction that sees him as a cold calculator of other people's lives.” Federica Fanizza for Sipario.it Director: Roberto Abbado / Director: Ugo Tessitore
Lucia di Lammermoor - Rome Opera House, March 2015 Read More »
“Baritone Marco Caria has an important and malleable vocal mezzo and was able to move in Renato's desperate aria in Act III.” Valentina Anzani, the Musical Bee Director: Michele Mariotti / Director: Damiano Michieletto
Un Ballo in Maschera - Teatro Comunale di Bologna, January 2015 Read More »
“The real star of the evening was Marco Caria as Giorgio Germont, whose rough, steely timbre in “Di Provenza il mar” brought out the character's colder, sterner side, with well-sustained high notes that exploded freely. Particularly incisive was the image of the Baron thrusting a mallet into the hands
La traviata - La Fenice Theater in Venice, December 2014 Read More »
“Marco Caria has a noble baritone timbre and delivered a polished and incisive interpretation of Sharpless.“ Original: “Marco Caria has a noble baritone timbre and delivered a polished and incisive interpretation of Sharpless.” Lorenzo Fiorito
Madama Butterfly - San Carlo Theater in Naples, July 2014 Read More »
“Baritone Marco Caria portrayed a somber and easily beamed Ford. His aria became a moment of great dramatic tension, sung with a remarkable Verdian baritone sonority.“ Original: “Baritone Marco Caria was a dour and dupable Ford. His aria was a dramatic occasion and sung with a thrilling Verdi baritone
Falstaff - Los Angeles Opera, November 2013 Read More »
“Sardinian baritone Marco Caria was a solid, sonorous Giorgio Germont.“ Original: “Sardinian baritone Marco Caria was a solid, sonorous Giorgio Germont.” William Burnett, Operawarhorses The review refers to the performance on July 26, 2012
La Traviata - Cincinnati Opera, July 2012 Read More »
“Baritone Marco Caria is also very convincing in the role of Enrico. He is a baritone of real caliber: persuasive in his rhetoric and authoritative in appealing to Lucia as the dominant brother.Lucia accuses Enrico: only God can forgive his actions. And, refusing marriage to Arturo, she protests that she has sworn allegiance to another. «Enough!» exclaims Enrico,
Lucia di Lammermoor - Wiener Staatsoper, June 2012 Read More »
“Marco Caria had an authoritative presence as Ford, a role whose dramatic lines often make him the object of ridicule. Caria played this fiery temperament effectively, with a wide and sonorous vibrato, deliberately coming off as over the top compared to the rest of the work.” Original: “Marco Caria had a commanding presence as
Falstaff - Wiener Staatsoper, SeptemBRE, 2011 Read More »
“Baritone Marco Caria, as the squabbling lovers Marcello, was in wonderful vocal form: his voice, soft yet penetrating, stood out for its quality and presence.” Original: “Soprano Amanda Squitieri and especially baritone Marco Caria, as the squabbling lovers Musetta and Marcello, were in wonderful voice; hers was sparkly bright with an edge,
La Boheme - Atlanta Symphony Hall, April 2011 Read More »
