Reviews
2022 Tosca (Teatro El Círculo de Rosario)
Gustavo Lopez Manzitti performed an excellent Cavaradossi, with a powerful emission and great vocal quality.
By Marta Lugo de Palacio, De Paraíso para Usted, 5/27/2022
2021 Das Lied von der Erde (Teatro Colón de Buenos Aires)
As for the soloists, Gustavo López Manzitti amply demonstrated that he is going through the best moment of his career. He showed a robust vocal timbre, the ability to nuance and give the right meaning to the text, expressing as I rarely saw a singer do in this piece. A huge success.
By Donato Decina, De Paraíso para Usted, 7/2/2021
Gustavo López Manzitti undertook the Wagnerian rethorics as a true Heldentenor, vibrant, passional, with a sound suitable for a symphonic version.
By Daniel Varacalli Costas, Sobreviviente en la ciudad, 7/22/21
(...) tenor Gustavo López Manzitti displayed his experience and vocal solidity, with complete understanding of the meaning and expression of the german texts in his three interventions.
By Néstor Echevarría, La Prensa, 7/3/2021
The tenor parts are some of the most demanding in the repertoire. Manzitti’s vocal sound did not dissimulate any of those demands; however, he was greatly involved in the conveyance of the spirit of the music.
By Laura Novoa, Clarín, 7/3/2021
2019 Tristan und Isolde (Auditorio SODRE of Montevideo, Uruguay)
Lopez Manzitti amazed us. He always does, because he is an extremely ductile tenor who has gone from one extreme of the repertorie to the other, and thorughout very diverse ones, always having a high performance: an opera house fortunate enough to have him in its staff will never have to cancel a performance due to indisposition of the singer, because he can always sing everything –and very well. Here he showcased a dark, almost baritonal voice, a wonderful use of the mezza voce, creating a more lyrical Tristán than we are used to, which, in this respect, reminds us of Vickers, the greatest Tristan I saw live (...) And he arrived to the last act’s ordeal with complete control of his resources, in a scene which rivals in extension, dramatism and demands with the Roma account of Tannhäuser, singing it without the slightest weakness, something that certainly does not happen to most tenors.
By Luis Baietti, Luis Baietti Opera y Ballet, 11/18/2019
“Tristan” came to Gustavo López Manzitti at the right time. Sharp timbre, penetrating voice, confident from the get-go, he displayed the hero in his entire dimension. The final moments end up thrilling the audience.
By Donato Decina, De Paraíso para Usted, 11/19/19
López Manzitti has been an example of unusual professionalism for years.
By Pablo Bardín, Tribuna Musical, 12/16/19
Gustavo López Manzitti’s growth has been colossal: from incarnating Melot in Daniel Baremboim’s version at the Colón, he coped now with the leading role with great mastery, dignity, flawless vocal line and acting. Tristan is an exhausting role for any self-respecting heldentenor because of the tremendous acting effort it implies (from loyalty to treason, from hate to love and from the mortal wound inflicted by Melot to resist and give his last life breath in Isolde’s arms) plus the vocal exertion it demands in front of the orchestral tutti (which act like a symphonic wall to demolish in order to make the voice stand out). This was the first time he performed this role, and accomplished it with great solidity.
By Martha Cora Eliseht, De Paraíso para Usted, 11/20/2019
2019 Ariadne auf Naxos (Teatro Colón de Buenos Aires)
Gustavo López Manzitti, in which in my opinion has been his best job, displayed a voice with a lot of harmonics, acted with remarkable gracie and his Tenor / Bacchus will constitute a high poing in his career.
By Alberto Leal, Opera in the World, 8/4/2019
Gustavo Lopez Manzitti excelled in the demanding role of Bacchus, displaying his outstanding vocal material and the assertiveness of an accomplished singer.
By Roberto Falcone, De Paraíso para Usted, 8/11/2019
Gustavo López Manzitti showed his erobust and powerful sound in composing the role of Bacchus, whose singing line, always strong and intense, asks for a powerful voice.
By Eduardo Balestena, Asociación de Críticos Musicales de la Argentina, 8/7/2019
Gustavo López Manzitti played a very good Bacchus, with a correct German diction and a great performance.
By Martha Cora Eliseth, De Paraíso para Usted, 8/2/2019
López Manzitti has to deal with a very high tessitura and an heroic singing style; he certainly has the extension, which can be only said of few tenors in the world: his voice is reliable, has enough volume and stamina, and he also has a good German.
By Pablo Bardín, Tribuna Musical, 8/18/2019
Gustavo López Manzitti in an unforgettable performance, with a tremendous and sharp voice and complete scenic ease.
By Donato Decina, De Paraíso para Usted, 8/2/2019
As the Tenor and Bacchus, Gustavo López Manzitti stands out vocally, and in the acting he proves hilarious with his afflictions and his peacock suit.
By Margarita Pollini, Clarín, 7/27/2019
Gustavo López Manzitti embodied Bacchus, remarkable in his dialogues with Ariadne; he shone with his voice, apart from his charm and elegance, even costumed like a peacock.
By Martín Wullich, 8/4/2019
Gustavo López Manzitti was categorical with his Bacchus, with pleasant voice color without strains.
By Santiago Giordano, Página 12, 8/6/2019
Gustavo López Manzitti undertook a great performance, with ringing voice and adequate volume, in a difficult role also from the theatrical point of view.
By Graciela Morgenstern, ACMA, 7/31/2019
Gustavo López Manzitti faced his tenor task with the right dose of divism and anxiety that the staging demanded, and was a Bacchus performed with professionalism, great vocal delivery and vast knowledge of the style.
By Gustavo Gabriel Otero, Mundo Clásico, 8/1/2019
2016 Macbeth (Teatro Colón de Buenos Aires)
Gustavo López Manzitti predictably had a feast with “La paterna mano”, perhaps the nicest aria that Verdi wrote throughout his career, which has caused many first class tenors to want to sing this role which is not towering but has as a bonus this masterful theatrical moment. Manzitti sung it with absolute emotional commitment, being remarkable the touching pianissimo with which he started the previous recitative, a torn apart and heartbreaking “o figli”.
by Luis Baietti, Opera y Ballet 10/3/2016
Gustavo López Manzitti, as Macduff, displayed the beauty of his voice, with constant nuances and gradations in the romanza “Ah, la paterna mano”.
by Eduardo Balestena, Críticos Musicales de la Argentina, 10/4/2016
A faultless Macduff by Gustavo López Manzitti, who triumphed in his aria of the fourth act.
by Gustavo Gabriel Otero, Mundoclásico, 9/7/2016
Great performance of Gustavo López Manzitti in the role of Macduff. His romanza “Ah, la paterna mano” was very well sung, with vocal virtuosity and dramatic expressiveness.
by Graciela Morgenstern, Críticos Musicales de la Argentina, 10/2/2016
Gustavo López Manzitti was very expressive and accurate as Macduff.
by Pablo Bardin,The Buenos Aires Herald, 10/1/2016
Argentine tenor Gustavo López Manzitti, as Macduff, delivered what is surely to be his best interpretation of this year. With expressive phrasing and well projected voice he achieved a touching moment in the romanza “Ah, la paterna mano” of the fourth act.
by Ernesto Castagnino, Tiempo de Música, 10/2016
2016 Aufstieg und Fall der Stadt Mahagonny (Teatro Municipal de Santiago de Chile)
Tenor Gustavo López Manzitti (...) stands out for his believable acting, confident vocalism and well managed high notes, taking good advantage of his robust voice and being capable of intelligently solving the character’s demands.
by Joel Poblete, Una voce poco fa, 7/4/2016
2016 Beatrix Cenci (Teatro Colón de Buenos Aires)
Gustavo López Manzitti (Orsino) showed his firmness again in the constant high range of his part.
by Pablo Bardin, The Buenos Aires Herald, 3/24/2016
2016 Werther (Teatro Colón de Buenos Aires)
Gustavo López Manzitti, in one of the best works I have witnessed by him along all these years, along with his Werther in Teatro Colón. He sung with beautiful line, sensitivity and remarkable nuances. He was a convincing actor.
by Alberto Leal, Opera in the World, 5/8/2016
2016 La Bohéme (Teatro Argentino de La Plata)
Gustavo López Manzitti created a great Rodolfo, sung with a voice that does not fear the challenges of the score, and scenically well solved.
by Christian Lauria, Opera World, 5/12/2016
Gustavo López Manzitti was once again our most reliable resident tenor: his Rodolfo was professional, powerful and personable (three "p" that define him).
by Pablo Bardin, The Buenos Aires Herald, 5/28/2016
Gustavo López Manzitti, a tenor with a wide artistic career, brought his flawless phrasing and well rounded vocal timbre to cope with the role of Rodolfo, to which he gave all the passion that characterises the young poet in love. His “Che gelida manina” was among the finest moments of the evening.
by Ernesto Castagnino, Tiempo de Música, 5/2016
2015 Don Carlo (Teatro Colón de Buenos Aires)
López Manzitti was at his best, singing with impressive command and acting with conviction.
by Pablo Bardin, The Buenos Aires Herald, 10/2/2015
Manzitti gave us a very beautiful musical and dramatic portrait of the suffering hero of the opera, an exhausting and complex role that sings in almost all the scenes and does not have a single aria to stand out (the only aria is in the first act, cut for this version). Gustavo, with his voice now much more pleasing to the ear than in the first times of his valuable career, gifted with a slight baritonal color, which manages to climb to the high notes without flaws in its color, gave us a very delicate portrait, of great emotional value and in absolute control of his vocalism, with a smooth execution of the Verdian melodic line.
by Luis Baietti, Opera y Ballet, 9/23/2015
Gustavo López Manzitti in the role of Don Carlo accomplished a more than remarkable task. His voice showed the nuances which distinguish his character: desperation, solitude, incomprehension from others, happiness, hope, disappointment, sadness. His acting was also in sync with the role. He was ductile and expressive, connected to the role of a son betrayed in love and life by a severe father, absolutist and with no feelings for him. As usual, his stage command and poise were superb.
by Rolando Daniel Castillo, El Apasionado, 9/23/2015
Gustavo López Manzitti performed the lead role with boldness and heroic accents. He never showed fatigue and proved to have the vocal and acting resources for the character.
by Andrés Hine, Críticos Musicales de la Argentina, 9/27/2015
This version would have been impossible not counting with a tenor competent enough to sing this diabolical part which has moments of great vocal demand. Candidates are hard to find, even more in our region. Gustavo López Manzitti was the keystone in this version, with a voice that has grown darker, a strong presence in the low region and a high register which was up to the demands of the score, particularly in the duet with Elisabeth, which includes several leaps to the vocal limit of a normal tenor and a sustained high note which seemed endless, putting the tenor’s breath management to the test; he completely succeeded, even with a brief misunderstanding with the conductor’s tempi which caused an isolated accident quickly overcome. A magnificent job.
Luis Baietti, Opera in the World, 9/16/2015
2015 Werthe
Gustavo López Manzitti is a very active international tenor whom I could enjoy in the role of Gabrielle Adorno in Verdi’s Simon Boccanegra of 2011 and in the lead role of Mario Perusso’s Bebe Dom in 2013, both in Teatro Colón. He accomplished a superb performance in the role of Werther (which he sung this very year at the Colón) both in his acting and with the deeply felt singing he gave us. He knows the role very well and performed it seamlessly. His gestures, his studied and well rehearsed movements, his outfit, all of his performance was delivered with the utmost care.
by Rolando Daniel Castillo, El Apasionado, 8/1/2015
Second Werther of the year
Tenor Gustavo Lopez Manzitti’s Werther started the performance of the night before last a little constrained, but he soon found the most suitable style for his character. He didn’t fake dramatism and unwrapped a relaxed and flexible articulation. His lyrical vein did not go unnoticed.
by Jorge Aráoz Badí, La Nación, 8/2/2015
“Werther” in Teatro Avenida : the French lyric vein at its best
The cast was led by the incandescent voice and stage presence of Gustavo López Manzitti, who replaced formerly announced Darío Schmunck for unclear reasons. López Manzitti was a blazing Werther, more inclined to extroversion than introversion, to despair than to melancholy; and even when in the first act more nuances and some pianissimi would have been welcome, his interpretation in the second act was true and expressive, reaching a breathtaking intensity in the third and fourth acts.
by Ernesto Castagnino, Tiempo de Música (August 10, 2015)
Massenet’s “Werther” by Buenos Aires Lírica
Tenor Gustavo López Manzitti created a vocally accurate and expressive Werther in his wretched fate, effectively performing the celebrated romanza “Pourquoi me réveiller”.
by Néstor Echevarría, Críticos Musicales de la Argentina (July 31, 2015)
“Werther” by Buenos Aires Lírica in Teatro Avenida
One could easily say that Gustavo López Manzitti is a specialist in the role which he recently has sung in Teatro Colón if he were not one of the most versatile singers in our operatic world, where he has been seen singing roles of different styles and tessiture always in a level which is never below absolute accuracy and in many occassions reaches the height of the very good or excellent (I mention his main roles: Carmen, Luisa Fernanda, Andrea Chénier, Il Trovatore, Idomeneo, Simon Boccanegra and others). Fact is, even in his ample and successful career he had never rendered for us, as he did tonight, such a felt interpretation, so introspective and rich in visual nuances, excelling his use of facial expressions, in the level of a movie actor who performs a close up. Completely in control of the score, he vibrantly sung this role, which is vocally exhausting because this character sings most of the time and is constantly putting the extreme high register or the possibility of producing soft pianissimi to the test, and also emotionally strenuous because it depicts a character who suffers a prolonged agony, a long journey to death from the last scene of the first act to the end of the opera. And it’s remarkable that López Manzitti gave, every second, all his focusing and emotive ability, and that is not easy.
by Luis Baietti, Opera y Ballet (August 3, 2015)
Mixed results in Buenos Aires Lírica´s “Werther”
BAL offered "Werther" in 2004, and the tenor was...López Manzitti. So, even if this year he took up the role twice in unforeseen circumstances, he has long internalized the role. And of course he is an accomplished professional with an extensive career. I can do no better than to quote myself concerning his performance, for it was very similar to the one he gave at the Colón. "His voice is powerful and firm and he acts with intensity; I only missed the sheer beauty of timbre and more ´piano´ singing". And I can add that in the intimate Teatro Avenida the "fortissimi" were much more present. He is helped by being tall and personable.
by Pablo Bardin, Tribuna Musical (September 7, 2015)
“Werther” in Teatro Colón: misfortunes of a cold start
Tenor Gustavo López Manzitti embodied the disgruntled poet for the third time in Argentina after his good performances in 2004 for Buenos Aires Lírica in Teatro Avenida and in 2012 in the alternative cast for Teatro Argentino de La Plata. Beyond artificially forced blocking from the stage director and a somewhat cold start in the aria “Ô nature pleine de grâce”, the Argentine artist capitalized his experience: he went on growing from act to act in all of his interventions, achieving a convincing and rousing performance, with his well projected voice of considerable volume.
by Luciano Marra de La Fuente, Tiempo de Música (April 28, 2015)
Experience and youth joined to achieve a great success in the Colón
If there were ovations (as in the old times!) during Saturday night it means that the audience felt as excited as it had not for a long time. It was the result of the confluence –above almost all and together with the cast- of two singers, one of them local , who joins experience with professionalism in the highest level, as is the case of tenor Gustavo López Manzitti, who was able to deal with the difficulties throughout the ample protagonism that Werther has, either vocalic or of diction and style. Everything was exhibited with presence and intensity.
EJS, Opera desde hoy (April 19, 2015)
“Werther” in Teatro Colón of Buenos Aires
What can be said about Gustavo López Manzitti. It causes me much indignation to think that if it hadn’t been for the cancellation of Vargas we wouldn’t have been able to hear this memorable version of the role precisely in the hands of a local artist, with everything that having limited performing opportunities implies. We are used to López Manzitti being flawless in each and every role he performs, being a particularly versatile tenor who has sung roles of extremely varied styles and tessituras. But never before he had accomplished such an overwhelming performance as this one, where he vocally shone in a particularly demanding and tiring role, thanks to the reliability of his emission, the vocal volume, the extension which showed him in absolute command of his low and high tessitura and, on top of that, affording the luxury of doing a smorzando in the last act. And if all this wasn’t enough he rendered an touching Werther, profoundly connected with this character. He had moments of great impact. It has been a long time since a tenor hadn’t moved me up to tears in the end of Act I, when (Werther) grasps the fate that awaits him (“A ce serment... restez fidèle! Moi... j'en mourrai! Charlotte!”). His scene in the third act with Charlotte was of such an intensity by both performers that drove the performance to a halt, to Levin’s evident displeasure, because the audience exploded in a thunderous applause. The final scene with them both was truly heartbreaking. In sum, a memorable version, superbly achieved with excellent musical and staging direction, a high quality cast even in the smallest roles and two lead singers who would cause great excitement in any opera house in the world.
by Luis Baietti, Una voce poco fa (April 21, 2015)
Bebe Dom- Mario Perusso
Gustavo López Manzitti was a Bebe Dom of full-fledged voice, firm high notes and clear diction.
by Christian Walter Lauria, Opera World (October 29, 2013)
“Bebe Dom”, a pretentious failure
I have nothing but admiration for Gustavo López Manzitti, singing with stamina and perfect intonation the high tessitura of Bebe Dom.
by Pablo Bardin, The Buenos Aires Herald (November 16, 2013)
“Werther” in an excellent musical version in Teatro Argentino
There were not surprises with Gustavo López Manzitti, who faces this role preceded by a generous and eclectic career in which he has sung practically everything of the most musical styles (and this month we are to see him in Rosario also doing Zarzuela) and always from high to superior performances. Even when it can be daring on my part I would say that this Werther is a consummation, a role in which he puts to work everything he’s got because the scores demands for it and where an impeccable vocal performance is joined to a complete drama made of emotional commitment to the character. A great performance.
by Luis Baietti, Opera y Ballet (August 6, 2012)
Verdi, Rossini and Haydn: Three concepts in opera
our tenor Gustavo López Manzitti (who had sung Gabriel Adorno in 2003) rose valiantly to the occasion, singing with intensity and fortitude.
by Pablo Bardin, The Buenos Aires Herald (August 18, 2011)
“Simon Boccanegra” in Teatro Colón, a memorable night at the opera
Gustavo López Manzitti pursued a flawless Gabriele Adorno; Manzitti is an outstanding tenor with stage presence and a powerful voice (unfortunately this does not often go together with the lyricism that one expects from a tenor, the volume plays in a dangerous way between the higher and lower registers, but being this the case of the Verdi type of tenor in which the vocal treatment does not follow the simple principle of bel canto but it deepens until becoming a true portrait of the soul, Manzitti perfectly renders his performance).
by Alejandro César Villarreal, Hágase la música (July, 2011)
“Simon Boccanegra” in Teatro Colón
Gustavo López Manzitti ratified his background as a subtle musician and his efficiency throughout his vocal register with absolute solvency from the beginning to the end of the score. Furthermore he was the only lead singer who devoted himself to the creation of a character. It’s unbelievable how much he has improved as an actor, from those beginnings when this was the weak point in his performancess. Manzitti sings with finesse, has a very good phrasing, skillfully uses mezza voce and transmits a feeling of confidence in what he’s doing. He excels in the counterscenes, managing to convey the feeling of being listening to the other character’s words as if it were the first time, being astonished at times, instead of showing that he is well aware of what they are going to say because he’s heard it in the rehearsals.
by Luis Baietti, Opera y Ballet (July 20, 2011)
Superb performances and music push Virginia Opera production of Verdi masterpiece
Gustavo Lopez Manzitti is equally impressive as Aida's love, Radames, commander of the Egyptian army. His voice is unusually rich and full for a tenor, ably conveying Radames' passions.
Lucia Anderson, the Freelance Star (October 20, 2011)
Tosca, a Treat by OperaDelaware
Opera Delaware’s production of Giacomo Puccini’s Tosca is the best I have seen from the organization since OD’s1960s interpretation of Mozart’s Don Giovanni.
Gustavo López Manzitti’s passionate portrayal of Mario Cavaradossi is intense – his daredevil high tenor notes and focused acting made for a spellbinding character. His Recondita armonia, extolling the mysteries of Floria Tosca and why he finds her beautiful was almost as gripping as his hauntingly sad E lucevan le stelle - accompanied cautiously by clarinetist Marianne Gythfeldt.
by Margaret Darby, Delaware Arts Info (March 5, 2010)
Sarasota Opera Opens New Season with Cavalleria Rusticana and Pagliacci
The Turiddu of Argentinian tenor Gustavo Lopez Manzitti was a notable one. From the offstage serenade sung to Alfio’s wife “O Lola,” to his ardent duet with Santuzza, his sturdy fearless voice rang out. Lopez Manzitti’s drinking song “Viva il vino spumeggiante” with Lola and full chorus was exuberant. Lopez Manzitti’s impassioned farewell to his mother (Lucia) “Mamma, quel vino e generoso” was sung with blazing intensity.
Gustavo Lopez Manzitti’s Canio was as good as it gets. Manzitti’s “Vesti la giubba” was sung with pathos, passion and power and his cries of “Infamia” are etched in my heart. His singing of “No Pagliaccio non son” was sung with rageful abandon... His cries of “E il nome” demanding to know Nedda’s lover’s name, had us at the edge of our seats. The final words in the opera “La commedia e finata!” shouted to the audience by Canio, as he drops the knife with which he killed Nedda and her lover Silvio were riveting.
by Nino Pantano, Opera List (February 15, 2010)
Outstanding exhibition of lyrical art : With great interpretations, the Colon is presenting the last opera of the 2009 season, I due Foscari
A great tenor
Brilliant was the performance of tenor Gustavo Lopez Manzitti as the Doge’s son, who, once again in his wonderful career, brought his resources and the care with which he analyzes the character, not only to build it in a believable way from the dramatic point of view, but also looking for an expressiveness that won’t betray the credibility of the dramatic action. This naturalness was achieved by the ductile and noble artist.
by Juan Carlos Montero, La Nación (January 12, 2009)
Verdi on the grand scale, gloriously sung
In the pivotal title role, Gustavo Lopez Manzitti made one sit up at attention from his very first notes. The Argentinian tenor posseses a ripe, ample lyric tenor with a yearning sweetenss and disalayed extraordinary stamina, singing full out in Act 1 and continuing to do so for the next four hours, with expressive shading as required as well.
by Lawrence A. Johnson, South Florida Classical Review (November 3, 2009)
Verdi work a rare treat with action and beauty
The exceptionally strong cast had two stand-out characters for their musicality and chemistry together -- the prince Don Carlos, dashingly portrayed by tenor Gustavo Lopez Manzitti, and his confidant Rodrique, brought to life by baritone Marco Nistico. Together they profess their brotherly bond in Act I at the monastery, staying firm through challenges until Rodriques is assassinated by the King and the Grand Inquisitor, Both Manzitti and Nistico are engaging actors with voices equally as captivating and expressive.
by Gayle Willliams, Sarasota Herald Tribune (September 3, 2009)
Opera review : Sarasota’s ‘Don Carlos’ is a stunner
In the role of Don Carlos, Argentinian tenor Gustavo Lopez Manzitti was most impressive. He attacked each aria with brio, in a voice that rang with stentorian tones. Manzitti also demonstrated flexibility and fine musicianship as he navigated through some of Verdi's most challenging writing for solo voice.
by Rex Hearn, Palm Beach Artspaper (March 17, 2009)
Verdi, Don Carlos
Gustavo Lopéz Manzitti was a superb Don Carlos. His confrontation scenes with Rodrigue, Elisabeth, King Philippe, and Eboli were wonderful. His voice and acting were equally strong, although perhaps he might have been a bit less overpowering in Act I. He hails from Argentina where he has performed principal roles in Rigoletto, Simon Boccanegra, and La clemenza di Tito at the Teatro Colon de Buenos Aires.
by Lew Schneider, Musicweb International (March 7, 2009)
Il Trovatore, Orlando Opera
Gustavo Lopez Manzitti, svelte of form, sang the troubadour's music with ringing high notes and seeming ease. The high C interpolated at the end of "Di quella pira" was delivered with brilliance.
By Edmund Leroy, Opera News (November 14, 2008)
Va. Opera begins its season in fine form
(...) tenor Gustavo López Manzitti as Manrico, who carried the story to its fullest for the audience while displaying an excellent voice in a taxing role. Manzitti, lead tenor of Teatro Colón in Buenos Aires, Argentina, returns to the Virginia Opera stage after performing the lead roles in Cavalleria Rusticana/I Pagliacci in 2007.
by Walt Amacker, Richmond Times Dispatch (October 26, 2008)
Triumphant Troubadour
Tenor Gustavo López Manzitti, as Leonora’s love, Manrico, sang with passion and fervor. The voice, though a bit unsubtle, is bright and moves easily, yet has weight; a good instrument for Verdi. The famous aria "Di quella pira" was heroically sung, including that final, no guts/ no glory high C.
by B.J. Atkinson, Portfolio Weekly (October 14, 2008)
Virginia Opera's Milestone Production of Verdi's Il Trovatore
...(tenor Gustavo López Manzitti) nailed his high notes and his solidly supported voice was a model of good vocal training. His vocal capital has been carefully husbanded and is spent wisely. In his fiery Act III aria, "Di quella pira" ("See the pyre blazing"), he delivered the goods, an exhilarating high C near its end. According to Julian Budden, writing in volume II of The Operas of Verdi, this interpolated note was originated by the tenor Achille Tamberlick, and Verdi countenanced it only if it (the high note) was "a good one." Manzitti's winning tone has a nice Italianate ring.
by William Thomas Walker, Classical Voice of North Carolina (October 26, 2008)
Review
Gustavo Lopez Manzitti (tenor) and Jeniece Golbourne (mezzo) should soon be recognized as top operatic stars. Mr. Manzitti has a most powerful yet lyrical voice that projected even in his whispered singing to the back of the hall.
by Bob Anthony, AllArtsReview4U (October, 2008)
Review : “ Il Trovatore”
Manzitti, as the troubadour (Trovator) Manrico, is a robust, animated and satisfyingly emotive leading man, in consistently good voice and quite capable of pitching the high notes to the rafters.
by Clarke Bustard, Letter V (October 25, 2008)
Opera Tampa's Passionate 'Tosca' Cuts To The Heart
The production's highlight may well have been tenor Gustavo Lopez-Manzitti as Cavaradossi, whose lovely aria "Recondita armonia" ("strange harmony of contrasts") and more convincingly, "E lucevan le stelle" ("the stars shine brightly"), nearly brought 1,900 people to their feet.
by Kurt Loft, The Tampa Tribune (April 27, 2008)
Casting change adds to charm of Opera Tampa's 'Tosca'
Gustavo Lopez-Manzitti plays Tosca's lover, Cavaradossi, and he brought impish humor to the painter's dealings with the jealous diva.
( ...) the tenor's intense performance of E lucevan le stelle stopped the show as he awaited the firing squad.
by John Fleming, St. Petersburg Times (April 26, 2008)
Review : Il Trovatore
Gustavo Lopez Manzitti’s clarion tenor made Manrico all the more heroic, coming through like a bell even when he sang off stage.
by Mike Dunham, ADN Alaska (February 3, 2008)
Cast Emits Heat, But 'Trovatore' Lacks Fire
Gustavo Lopez Manzitti turned his Manrico into a living, breathing person, and his urgent but creamy tenor voice brought down the house in "Di quella pira," a showpiece aria set in the meter of a polonaise.
by Kurt Loft, The Tampa Tribune (April 15, 2007)
I found the opening night an absolutely joyous feast!
The philandering Turiddu, as sung and superbly acted by Gustavo Lopez Manzitti, is a lusty, handsome fellow, with a dark side, who probably looks in the mirror a lot. Lopez Manzitti has a full bodied rich tenor that fills the hall with glorious sound. We don't hear tenors like him very often in Hampton Roads.
Gustavo Lopez Manzitti is a superior Canio in every aspect of his performance. There's something very middle European in his demeanor. He's a sort of shabby dandy and his ultimate fate as a betrayed husband is shattering.
by Edgar Loessin, WHRO-FM (October 3, 2007)
Opera twins well-served by heart and smarts
The story of a troupe of traveling actors whose real-life dramas spill over into their stage work with murderous results, it featured a riveting performance by tenor Gustavo Lopez Manzitti as Canio, the aging actor who learns that his adored wife has taken up with the local village hunk.
Lopez Manzitti brought a tireless voice, with bright and secure high notes, and a nervously intense acting style to the part. If he didn't wring every last drop of emotion from the famous ‘Vesti la giubba,’ he drove the opera to a shattering conclusion with his ‘La commedia e finita! (The show is over)
by Paul Sayegh, Virginia Pilot (November 3, 2007)
Murder, lust, envy make for splendid opera
“(...) ‘Pagliacci’ hangs entirely on the shoulders and lungs of its star, and Gustavo López Manzitti fit the bill with gusto, bringing down the house with a heartfelt and chilling rendition of ‘Vesti la giubba,’ one of the signature arias of all opera.”
by Daniel Neman, Richmond Times Dispatch (March 25, 2007)
One of These Things Is Not Like The Other
Argentinean tenor Gustavo Lopez Manzitti faced the daunting task of singing the male leads in both shows—Turridu in Cavalleria and Canio in Pagliacci – and met the challenge of the double-bill with the strength and conviction of a seasoned Italian opera singer. Leading tenor at Teatro Colon in Buenos Aires, Manzitti seems to have every operatic tenor role in history in his repertoire; as the star tenor of this Cav/Pag, his rock-solid technique and very- Italian acting style served convincingly as both the young, brash soldier Turridu and the pathetic cuckolded clown in Pagliacci. Canio’s much-anticipated aria, "Vesti la giubba", was musically and dramatically superb.
by B.J. Atkinson, Portfolio Weekly (March 20, 2007)
Virginia Opera-Cavalleria Rusticana and I Pagliacci
The cuckolded husband Canio was sung by Gustavo Lopez Manzitti, who also sung the role of unfaithful Turiddu in Cavalleria Rusticana. He had a big voice. He was good in Cavalleria Rusticana, but really shone in I Pagliacci. I was prepared for the big aria Vesti la giubba when he has to get ready for his performance, but I ddin't realise how strong the final scene, the death scene, was going to be. Big voice, powerful emotions, he was good. ”
Hedonism with Henry (March 9, 2007)
Virginia Opera: Verismo Double Bill of Cav and Pag Packs a Wallop
Two star male singers, tenor Gustavo López Manzitti and baritone Andrew Oakden, did double-duty, singing lead roles in both operas. Manzitti, born in Buenos-Aires, Argentina, has been a leading tenor in the Teatro Colon of Buenos Aires. His depth of experience was reflected in his astute husbanding of his voice, carefully gauging dynamics and timbre and precisely placing climaxes. His tone was wonderfully Italianate with a fine ring to it. He embodied two strongly contrasted characters, that of Turridu, with an ambivalent mix of passion and guilt, torn between Lola and Santuzza, and that of Canio, whose good nature is a thin veneer over raw jealousy from the beginning. Manzitti's portrayal of Canio's descent into murderous rage was totally convincing, the perfect blend of singing and acting.”
by William Thomas Walker, Classical Voice of North Carolina (March 25, 2007)
The Virginia Opera Company finished their season ablaze with drama and singing talent with their production of ‘Cavalleria Rusticana’ and ‘I Pagliacci’. Gustavo Lopez Manzitti soared vocally and dramatically throughout as both Turiddu and Canio. He had an amazingly ‘sweet’ tenor and the clarity of his vowels were ‘sugary’. His is a talent to watch over the next few seasons.”
by Bob Anthony, AllArtsReview4u (April 2, 2007)
The night in which the sound of the sea had contenders
About 20 thousand people enjoyed the fifth edition of Zurich Gala del Mar, a solidarity operatic concert which took place in Playa Grande stairs, with the participation of the Symphonic Municipal Orchestra conducted by maestro Mario Perusso and performed by two guest soloists that captivated the crowd singing renowned arias from the opera repertoire (...)
López Manzitti (...) moved the audience with an impressive voice to play the poet Andrea Chenier, generating a collective euphoria when he sung “El día que me quieras”, a surprise rewarded by the audience with the ovation of the night.
Cultura – La argentinidad (January 22, 2007)
A seductive “Carmen” hits all the right notes
In that role, tenor Gustavo López Manzitti suffers from the poor judgment of choosing the temptress. The decision leads him to abandon his military career, resort to a life of crime and finally turns him into a murderer.
Manzitti sang the role of the exploitive Duke in "Rigoletto" last season with OperaDelaware. His emotional and vocal range in "Carmen" drew some of the most sustained applause from the opening night audience.
The touching duet between Manzitti and Andress in Act I reveals a sentimental devotion to traditional values and sets another counterpoint to the searing passions that will define José's duets with Carmen. The Opera's great tenor aria, the flower song in which José describes how the rose that Carmen cast at him in disdain struck him like a bullet and sustained him in prison, is a high point in this performance. Andress' poignant Act III aria "I say that I am not afraid" reveals the devoted lover that José has spurned to follow Carmen. This was another favorite of the audience.”
by Tom Butler, The News Journal (October 31, 2006)
“Madama Butterfly”, in a captivating stage version
“Gustavo López Manzitti composed a Pinkerton keeping up with all his circumstances, with elegance and good stage presence, and mirrored the carefree optimism of the young sailor in foreign land, at the beginning, and his uncertainty after that ; always with excellent vocal and expressive performance, even throughout his entire register.”
by Héctor Coda, La Nación (September 3, 2006)
Madama Butterfly in the Garden of Zen
Gustavo López Manzitti as Pinkerton showed once more his full singing, musical reliability and correct stage behavior.
by Gustavo Gabriel Otero, Mundoclasico (September 1, 2006
Giordano’s Andrea Chénier at Teatro Argentino de La Plata
Gustavo López Manzitti (Chénier) sang with perfect pitch, excellent line, and showed a free and much more steady high register than in previous presentations. Maybe his vocal timbre is not the most adequate for the role, but the quality and detail of his singing in combination to his commitment, produced a performance to remember. His international career seems to greatly evolve. Absolutely deserved.
by Dr. Alberto Leal, Canto Lírico (July 17, 2006)
“Andrea Chénier”, with high vocal level
On his part, the tenor [Gustavo López Manzitti] –one of the few argentinian singers capable of dealingwith Chenier’s role with vocal nobility- gives the main character arias of great brilliance in almost all the scenes and always with the need of a heroic and vibrant singing. In all those moments, apart from the several ones in duos and group scenes, López Manzitti showed style, temperament, stamina and superb breathing ability.
by Juan Carlos Montero, La Nación (July 19, 2006)
Andrea Chénier: Profumo della rivoluzione
Gustavo López Manzitti added a new landmark to his more than interesting career with this ‘Andrea Chenier’. Much more dramatically involved than in previous works, his vocal performance went on growing in intensity as the opera evolved.
His main character was sung with adequate line and homogeneity, although without neglecting the dramatic aspects. In the renowned ‘improvviso’ of the first act he excelled because of his phrasing and vocal subtetly. Heroic and romantic in the second act, his intense ‘Sí, fui soldato’ in the third act was truly memorable, and of superior quality the whole fourth act. A truly afternoon of triumph for the argentinian tenor.
by Gustavo Gabriel Otero, Mundoclasico (July 23, 2006)
All the luxuries in the premiére of Andrea Chénier at La Plata
Umberto Giordano’s masterpiece opened on Friday in our city, standing out tenor Gustavo López Manzitti and soprano María Pía Piscitelli. Tenor Gustavo López Manzitti lavished all the vocal carats of his recognized ductility and strength, his
heroic timbre and his impeccable diction in another night of faultless dramatic performance,
Diario Hoy (November 29, 2006)
Contentons-nous des voix
Vocalement, Gustavo López Manzitti compose un grand Don José. En fait, il n'a aucune faiblesse.
by Richard Boisvert, Cyberpresse Le Soleil (May 15, 2006)
Buenos Aires Lírica [Opera Company] and a brilliant start
We can undoubtedly rate Ernani as a very high-level show that places the operatic genre with which Buenos Aires Lírica deals on an equal footing with productions approached by the great theaters of the world.
Gustavo López Manzitti, Svetlana Volosenko, Omar Carrión, more than validated their well deserved prestige getting into the skin of their characters with deep conviction.”
Host News (March 27, 2006)
Successful version of Verdi’s “Ernani”
If we talk about commitment we must cite that of Gustavo López Manzitti in the hazardous role of Ernani. With frank singing and excellent use of his means, the tenor fulfills the virtuous demands of the character with capacity and dramatic power.
by E. G. , Ambito Financiero (March 23, 2006)
“Ernani”, a neglected opera
The acting performance, and even the vocal rapture demanded by Verdi had faithful translation in the rebellious protagonist (López Manzitti), convincing at all times (...)
by Héctor Coda, La Nación (March 19, 2006)
Maestro Vincent La Selva and The New York Grand Opera presents a concert version of Giovanna D’Arco at Carnegie Hall
The role of Charles the Dauphin (Carlo) was sung with ringing tone by Argentine tenor Gustavo Lopez-Manzitti. He easily was heard in both solo and ensemble passages and received an enthusiastic and rousing ovation. Lopez-Manzitti has handsome stage presence and possesses a voice with real “squillo,” which translated means golden ring. A gift to the chosen few!
by Nino Pantano, Opera List (November 29, 2005)
Opera Delaware gives a world-class performance of “Rigoletto”
New to the area was the dynamic tenor Gustavo López Manzitti as the morally corrupt Duke. With an international trail of performances, Manzitti was a stunning revelation. He has the insufferable insouciance of a powerful debancher on stage and sings as though inspired (…) Other outstanding moments of the production were (…) the most favorite tenor aria ever written, ‘La donna é mobile’, sung exquisitely by Manzitti.
by Caryl E. Huffaker, Community (November 3, 2005)
A tale of revenge gone wrong
The role of the duke is a plum for any tenor. It was the part Caruso chose for his American debut. Gustavo López Manzitti has the rakish good looks and virile voice to explore the intricacies of the character’s twisted passions. Manzitti exploits the work’s most famous aria “Donna é mobile” (Fickle is woman fair) in Act III to reveal his own callow selfishness and to drive the ironic message of the plot.”
by Tom Butler, The News Journal (November 1, 2005)
Opera Delaware's Rigoletto
Elsewhere in Opera Delaware time warp: For those who long for the less civilized singers of decades past (think Giovanni Martinelli), there's tenor Gustavo López Manzitti (the Duke of Mantua). Costumed with flowing black hair, he resembled rock star Alice Cooper, moved convincingly from one dramatic pose to another, and pushed his healthy tenor voice brutishly. He doesn't have to; the voice is full of inviting colors he infrequently uses.
by David Patrick Stearns, The Philadelphia Inquirer (November 5, 2005)
The achievement of a version
(...) In the same way was brilliant the performing of tenor Gustavo López Manzitti, in the difficult role of Maurizio Count of Sassonia, excellent because of the importance of his artistic progress, up to the point that he is placed, in our opinion, among the best tenors of our country, based on the excellence of his singing technique which allows him to change from the heroic tone to the most delicate one without any effort and no loss in colour. He is the owner of a remarkable air capacity, that’s why his musicality is exact, precise and without fractures in the phrasing.
by Juan Carlos Montero, La Nación (September 17, 2005)
Opera in America: Adriana Lecouvreur in Buenos Aires
by Gustavo Gabriel Otero
(...) Gustavo López Manzitti composed a vocally passionate and heroic Maurizio, without leaving aside the romantic aspect the role demands for. His phrasing and musicality were accurate and his singing had the necessary doses of power and softness.
by Gustavo Gabriel Otero, Pro Opera (January, 2006)
The three local tenors
López Manzitti brought remarkable dramatic stamina, thanks to his excellent singing and vocal projection, to “Ma se m’e forza perderti” (“Un ballo in maschera”), going all over his entire voice extension without any effort
López Manzitti gave an excellent version of “Nessun dorma”, with shining and timbric depth, deep expression and eloquent phrasing.
by Héctor Coda, La Nación (May 5, 2005)
The Colón gave an ovation to an inusual Verdi: ‘I Lombardi’ gave unbeatable opening to the lyric season
A competent vocal quartet headed by tenors Maximiliano Pisapia and Gustavo López Manzitti, both great (…)”
by Eduardo Vincent, Ambito Financiero (April 18, 2005)
The early Verdi
Also turned out to be outstanding the performance by tenor Gustavo López Manzitti (Arvino), who incarnated the lombardo chief, lively and even fiercy in his convictions, vibrant in his vocal projection, and smooth in all the extension of his register.
By Juan Carlos Montero, La Nación (April 17, 2005)
A cool Francisquita
Reaffirming his value, tenor Gustavo López Manzitti gave his ‘Fernando’ elegance in his saying, excellent singing line and adequate actoral understanding. He was, with justice, ovationed in the famous romanza “Por el humo se sabe dónde está el fuego” of the second act, which he sang, as the libretto indicates, with feeling and fantasy. A true evening of triumph for the Argentinian tenor.
by Gustavo Gabriel Otero, Mundo Clásico (March 11, 2005)
Le gala de l’Opéra conserve son panache
It is necessary to say that, on the tenor side, they are royally graced with Gustavo Lopez Manzitti, “special guest” of the general and artistic director Grégoire Legendre. Some notes are enough for appreciating the quality of the Argentinian singer. He is irrefutably “the” discovery of the soirée, splendid interpreter, profoundly expressive, completely committed. His voice is rich, free, without weaknesses. He sings “La donna é mobile” with the touch of humor that is needed. In “Recondita armonia”, it is his fine and spiritual game what charms. We greet in him not only an accomplished artist, but also a genuine musician.
by Richard Boisvert, Le Soleil de Quebec (November 27, 2004)
Of love and misunderstanding
López Manzitti is undoubtedly a singer with good volume, even register and efficient arrival to high notes; king Renaud, of Gluck, and Tito, the emperor of “La Clemenza di Tito” by Mozart, vocally difficult but with less dramatic density, have fitted perfectly in
López Manzitti.
by Sandra de la Fuente, Clarín (May 8, 2004)
“Werther” in an accurate version
(…)the leading role of Gustavo López Manzitti leaves the audience pleased, to achieve that he counts on his well-pitched voice and his command of the character during the whole performance, restrained, in a “he is going through a lot, although he doesn’t show it” style.
by Abel López Iturbe, Ámbito Financiero (August 3, 2004)
“Boheme” adds to memories
The tenor role of Rodolfo was sung by Argentine native Gustavo López Manzitti, who would be welcome on any stage in the world. Without a good lead tenor “Bohéme” can not be successful, so let me say, based on Manzitti’s performance vocally and histrionically, the opera was a hugh success. Rodolfo’s introduction to Mimi was flawless and showed his top to perfection. In the duett “O soave fanciulla…” Manzitti took the high alternate ending and brought the audience to its feet.
by Dr. George Creegan, The Herald Star (April 20, 2004)