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“In the role of Count di Luna, Marco Caria offers a theatrical performance that makes a strong impact. The character emerges as an authoritarian leader, almost an evocation of some of the great dictators of the twentieth century. His stage presence, built through controlled gestures and a significant ability to command even moments of stillness, lends the character an aura […]

“Marco Caria, as Amonasro, offers a vibrant and authoritative characterization. With a robust timbre and notable stage presence, he dominates the stage with energy, effectively conveying the combative and proud temperament of the Ethiopian king.” Francesco Germinario, «L’Opera» international magazine, June 2026 issue Director: Renato Bonajuto

“Marco Caria's ringing baritone and impassioned acting made him an exceptional Amonasro.“ Natasha Rogai The review refers to one of the performances in the period from October 9 to 12, 2025 at Opera Hong Kong Director: Ramón Tebar / Director and lighting: Hugo de Ana

“And then there is he, the real dark element: Jago, the Bishop, played by baritone Marco Caria. The beautiful voice with a burnished timbre is rich in color. Insinuating, fierce, slimy and opportunistic. In him is everything that makes Jago the perverse manipulator that he is.He flatters Othello, deceives him, induces him to doubt Desdemona's fidelity.

“Sardinian baritone Marco Caria made his debut in the title role offering a mature and very heartfelt interpretation of his character, both from an acting and vocal point of view, drawing an extremely convincing Nabucco rich in color and personality.“ «Il Tamburino Sardo» “Marco Caria's Nabucco was excellent (for him the first time in this

“In this context, the role of the baritone does not take on a particularly positive character: in fact, he represents the interests of the family - an institution that is ill at times - and, at the same time, those of the primitive horde, now channeled into a society as respectable as that of the mid-19th century. However, played by Marco Caria, the character gains confidence and authority -

“On the other hand, the performance of Marco Caria from Sassari, in the part of Germont padre, was remarkable for expression, vocal beauty and variety of accents: excellent in the duet with Violetta, he disembarks well from the insidious anadiplosis in Di Provenza il mare, il suol... The mid-acoustic register, burnished and sonorous, is his best weapon...“ Gabriele Verdinelli, GBopera “Fiore all'occhiello

“The most psychologically interesting role, and best played, from my point of view, during both evenings, was Marco Caria's Paolo Albiani. The baritone, enjoying a particular softness in his emission and perfect diction, embodied the Mephistophelean character who seems a precursor to Iago. Caria's singing

“Marco Caria plays an excellent Amonasro, on the strength of a well-timed and extended voice and an interpretive line that banishes any verismo-like excess to restore the character to the necessary dignity of a defeated king and father eager for revenge.” Domenico Ciccone, OperaClick “More technically polished is baritone Marco Caria, who brings to the role

“A polite Amonasro that of Marco Caria, free from barbarisms that deviate the character from Veridan's accurate baritone writing.“ “Opera,” Vincenzo Grisostami Travaglini “More than discreet Marco Caria as Amonasro: the vocal amplitude was just right to accurately portray the personality of Aida's father, without forgetting the vigorous phrasing and Veridian speech that

“Marco Caria shows himself in dazzling vocal form. Gérard, unlike Chénier, can do without the second degree. With an extended, well-tied and rightly timbral voice, neither too dark nor too light, the baritone opens up a foreground passage without difficulty.“ Christophe Rizoud for ForumOpera Director: Benjamin Pionnier /

“Marco Caria thrilled with his Giorgio Germont, who imposed himself “on tiptoe.” One always expects nuances, softness, insinuating accents from this character, and the Sardinian baritone showed them all off. The duets with Violetta went off smoothly, not forgetting the deep and accurate interpretation of Di Provenza the

“Marco Caria voices a sensational Rigoletto, which could not have been portrayed better than this. With his powerful and strong singing he engages the audience in the vicissitudes of the court jester; moreover, also through his movements and expressions, he shows that he can fully identify with the character.“ Giampaolo Sanna, Chronicle Online The review si

“Arriving practically at the last moment, Marco Caria fits very well into the stage play and just as well in rendering with song an extremely multifaceted character, thanks to a skillful use of phrasing. The voice has color and amplitude appropriate to the role, and it is appreciated as much in the more excited moments of the trio that closes the first

“Baritone Marco Caria loved to show off his considerable volume and confident, well-timed high notes, resulting in a fine duet with Gulnara in Act III, in which he emphasized first the mellifluous irony of the words and then the violent explosion of jealousy.” Ugo Bedeschi, OperaClick The review refers to the performance on Oct. 26

“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 also turns out well.“ Original: “Marco Caria as Il Conte di Luna has a manly baritone voice, steady, warm and sings his

“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

“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

“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

“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