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López Manzitti was at his best, singing with impressive command and acting with conviction.

By Pablo Bardin / The Buenos Aires Herald / Octubre 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 / September 23, 2015

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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 / September 23, 2015

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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 / September 27, 2015

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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 Margarita, 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.

By Luis Baietti / Opera in the World / September 16, 2015

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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 / August 1, 2015

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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 / August 2, 2015

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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

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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

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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

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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

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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

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