Julianna Di Giacomowww.juliannadigiacomo.com
DON CARLO-OPERA DI FIRENZE-MAGGIO 2017
Sul cast svetta la californiana Julianna Di Giacomo, che in
Italia si é sentita finora poco. Bella voce di notevole potenza
(tanto che arriva bene al pubblico anche quando il regista le fa
iniziare la meravigliosa aria «Tu che le vanitâ conoscesti del
mondo» girata di spalle verso la tomba di Carlo V, sul fondo) e
interpretazione intensa: gli applausi più calorosi, dopo quelli
tributati a Mehta, sono stati per lei.
-Roberta Manenti, Firenze Post, 6 maggio 2017
“[…]intensa Julianna Di Giacomo,
-Elisabetta Torselli, Il Giornale della Musica, 5 maggio 2017
Tosca, Los Angeles Hollywood Bowl, Luglio 2016
This was also the first Tosca for Di Giacomo, who has become one of Dudamel’s favorite singers. The soprano from Santa Monica was in his Verdi Requiem and the Mahler Eighth Symphony performances, and she starred in his performance of “I Pagliacci” at the Bowl two years ago. Once more, she was thrillingly powerful and dramatically sure, but she was most effective presenting Tosca’s vulnerability. She ended “Vissi d’arte” in tears, not anger
-Mark Swed, Los Angeles Times, July 25, 2016
Desdemona in Otello, Teatro de la Maestranza, Novembre 2015
“American soprano Julianna Di Giacomo was a remarkable Desdemona, with a rich, wide and well-handled voice. She had no trouble dominating the ensemble that ends Act III, and was brilliant in the “Willow Song” and “Ave Maria” in the fourth act.”
-José M. Irurzun, Seen and Heard International, 05/11/2015
Amelia in un Ballo in Maschera, San Francisco Opera
“The big news is the spectacular company and role debut of soprano Julianna Di Giacomo, as a touching and deeply-felt Amelia Anckarström. A 1999 graduate of the Merola Opera Program, Di Giacomo has the ideal voice for this role, beautiful, fresh and easily produced, from glowing top to bottom. She lacks for nothing technically, singing with a gorgeous legato and noble, long-breathed phrasing, not to mention exquisite dynamic control, whether pleading for a last view of her child in “Morrò, ma prima in grazia” or contemplating the gallows at midnight in “Ma dall’arido stelo divulsa.”
-Lisa Hirsch, www.sfgate.com, October 5, 2014
“Saturday at the War Memorial Opera House, it was Julianna Di Giacomo''''s turn in the spotlight. Singing the role of Amelia in "Un Ballo in Maschera" ("A Masked Ball"), Di Giacomo made an indelible first impression -- making this revival of Verdi''''s 1859 melodrama the highlight of the season so far.
Saturday''s three-hour opening performance marked Di Giacomo''s official company debut, although she is not new to San Francisco. Local audiences may remember her as a young singer in the Merola Opera Program in 1999. Since then, she has sung at the Metropolitan Opera, Los Angeles Opera, La Scala and elsewhere. But her Saturday performance registered as a revelation. The radiant power of her voice, the ease and beauty of her phrasing and the rich, gleaming tone throughout her range were all of a piece in this portrayal of a deeply conflicted woman loved by two men. […]Gustavus is one of Verdi''''s great tenor roles, and Ramón Vargas brings a wealth of skills to it -- plush tone, elegant musical line, passion and tender lyricism. Saturday, his gallows duet with Di Giacomo was honeyed and rapturous. And, despite a few moments of strain, his Act III aria, "Ma se m''''é forza perderti," was brilliantly sung.
Still, among the principals, it was Di Giacomo who lifted this "Ballo" to the heights. Her Amelia was appealingly poised yet vocally penetrating. The Act III aria, "Morrò, ma prima in grazia," in which she begs her husband to take pity on her, yielded an anguished, meltingly beautiful demonstration of her vocal gifts.”
-Georgia Rowe, San Jose Mercury News, October 10, 2014
Desdemona in Otello, Teatro Massimo di Palermo- febbraio, marzo 2014
“Angelo umanato sceso in terra a miracol mostrare, il personaggio evidenzia un miracolo essenzialmente canoro, intessuto di note flautate, acuti cristallini e morbidi filati. La Di Giacomo ha a disposizione uno strumento possente e ben modulato, che sa piegare alle necessità espressive richieste dalla partitura.”
-Ilaria Grippaudo, gbopera, 21 febbraio 2014
“La creazione di Julianna Di Giacomo in Desdemona è commovente e vera. La cantante affronta il ruolo con voce equilibrata e calda, che anche nei momenti di maggiore impegno riesce a coinvolgere per consistenza e pacatezza.”
-Monika Prusak, Il Corriere Musicale, 3 marzo 2014
Verdi’s Requiem, Hollywood Bowl Los Angeles-agosto 2013
“The soloists were part of the pleasure and the process. Soprano Julianna Di Giacomo was
fervent and soaring.”
-Mark Swed, Los Angeles Times Music Critic, August 14, 2013
Rozenn in Le Roi d’Ys, Montpellier e Opera Comique – marzo 2013"Révélation californienne
Disons-le d’emblée, le plateau réuni dans la cité languedocienne a enthousiasmé, à un ou deux bémols près. La palme de la soirée revient sans conteste à la soprano Julianna Di Giacomo qui, dans le rôle de Rozenn, a ébloui. La soprano californienne s’impose comme une interprète idéale du rôle, avec une sensibilité dans le phrasé, une homogénéité de registre et une séduction dans le timbre qui emportent totalement l’adhésion. Comment ne pas admirer également sa science des piani et des pianissimi, le rayonnement de ses aigus lumineux, de même que sa parfaite diction, elle qui ne parle pas un mot de français, et qui se produisait d’ailleurs pour la première fois en France. Magnifique actrice enfin, elle rend toute la fraîcheur et toute la transparence de ce personnage complexe."
-Emmanuel Andrieu, Concertonet.com
Desdemona in Otello, Teatro Petruzzelli di Bari - gennaio 2013
"Premesso l’estremo fascino esercitato dalle invenzioni di Nekrošius, va detto che tra le voci si stagliava per perfezione di emissione e fraseggio quella di Julianna di Giacomo, soprano dal timbro ricco e variegato, duttile e cristallina, precisa e intensa sul piano espressivo.”
-Lorenzo Mattei, gbopera.it, 22 gennaio 2013
Suor Angelica in Suor Angelica, Teatro Real Madrid –novembre 2012
“In the second cast however we had exactly that from American soprano Julianna Di Giacomo. Her soprano is well suited to the demands of Suor Angelica, and I thought that she sang the score precisely as it should be done, conveying much emotion in her singing and delivering a wholly remarkable performance.”
-Jose Mª Irurzun, seenandheard-international.com, November 6, 2012
“Il resto del cast, tutto al femminile, è stato di ottimo livello, a partire dalla Suora Angelica di Julianna Di Giacomo che ha entusiasmato il pubblico madrileno, con un canto molto espressivo […]”
- Mercedes Rodriguez, gbopera, 18 novembre 2012
Mathilde in Guillaume Tell at the Caramoor Festival
"With the arrival in Act II of the soprano Julianna Di Giacomo as Mathilde, came the evening’s first lightning bolt: a show-stopping account of the aria “Sombre forêt,” ravishing in its emotional efficacy and nuance. Ms. Di Giacomo had a lustrous evening."
-Steve Smith, New York Times, June 10, 2011
"The vocal star of the evening was Julianna Di Giacomo as Mathilde. When she finally appeared at the start of Act II, her big dramatic soprano and flawless opening aria and duet with Arnold put her in a different league from the other singers. Ms. Di Giacomo's performance conveyed the work''s relationship to more heroic styles of operatic writing that would follow Rossini; she combined power and weight with bel canto flexibility and line."
-Heidi Waleson, Wall Street Journal, July 12, 2011
Soprano Soloist in Elijah with the Cincinnati May Festival
"What a joy it was also to hear the luscious soprano of Julianna Di Giacomo in her high-floating aria, "Hear ye, Israel." Her voice had dramatic heft and lyrical beauty, and she and Blythe blended well in their ensembles."
-Janelle Gelfand, Cincinnati Enquirer, May 30, 2011
Lidoine in Carmelites at the Pittsburgh Opera"Quite stunning were the three big voices of the evening. Julianna Di Giacomo, vocally radiant as the Young Prioress and commanding on stage, gave a heartrending delivery of her discourse on courage to the doomed women in her charge."
- Robert Croan, Opera News, April 30, 2011
“Led by the two prioresses, Sheila Nadler and Julianna Di Giacomo, the cast was brilliant…Ms. Di Giacomo is a marvel, her broad voice like a palette with many colors from which to choose. Hers is an essential role, but the soprano stole the stage nonetheless.”
-Andrew Druckenbrod, Pittsburgh Post-Gazette, May 2, 2011
Valentine in Les Huguenotes at Teatro Real de Madrid, Febbraio 2011
“Elegante y musicalisima linea de canto de la estadunidense Julianna di Giacomo.”
-J. A. Vela del Campo El Pais 26/2/11
“Valentine was the young American soprano Julianna Di Giacomo, who was a fine
and convincing interpreter. This was a very promising debut for a young woman who should have a good career ahead of her.”
-Josè Ma. Irurzun, See and Heard International, 8/3/11
Leonora in Il trovatore at the Metropolitan Opera“But the icing on top of the cherry was our heroine sung by American soprano Julianna Di Giacomo. Rarely does any audience get the chance to witness greatness on stage. Those of us there that night can count ourselves among those few. Ms. Di Giacomo''''s performance was a tour de force of the human condition. Perfectly acted with the right balance of young love and restrained maturity, she had the audience in the palm of her hand the entire evening. With flawless coloratura and beautifully sustained lyric lines, it was sheer vocal fireworks!”
- Jake Johansen, The Examiner, November 13, 2010