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Opera in Performance - Demos

Concert in Performance - Demos



Opera de Quebec

May 11, 14, 16, 18




...a real Aida. Michele Capalbo has a genuine voice, from a lower register she actually uses to high floating pianissimos. The New York Times


Michele Capalbo performed a world-class Aida, passionate, subtle and vocally satisfying. Her "O patria mia" had the audience of several thousand screaming for more. Opera News


In the title role of Aida, the beleaguered slave princess, soprano Michele Capalbo handled the huge musical leaps with ease. Imbuing Aida with sympathy, power and regal bearing, she outlined Verdi's ardent melodies with gleaming tone. Worcester Telegram & Gazette


Tosca (Tosca)

Throughout the work Ms. Capalbo displays a rich and polished lyric voice full of color and fluidity. Her rendition of the work's famous aria "Vissi d'arte," is strikingly honest and varied, full of powerful waves of vibrato and soft tenuous lines that hang on the top of the scale, then descend in a flurry of passion. New York Sun


The highest praise of the evening however, should go to Capalbo, whose delightful voice is founded both on solid technique and a subtle musicality. Her Italian diction was impeccable, and her noble and dignified Tosca evolved as the work progressed. Opera Canada


Michele Capalbo as Floria Tosca ... demonstrated a dark, richly colored, even voice topped by brilliantly shining high notes ... [and] the famous aria "Vissi d'arte" was exquisitely shaped. The Boston Herald


 (Capalbo’s) voice, particularly in the upper reaches, is by turns warm, sultry, and brilliant.  The Boston Globe

Otello (Desdemona)

Michele Capalbo, the Desdemona, can be safely added to the short list of Canadian sopranos with true Verdian lustre. Montreal Gazette

As Desdemona, Michele Capalbo overflowed with nobility and absolutely dominated her character, dazzling from her entrance with a rich colorful voice and an overwhelming facility for pianissimi and fil di voce. Without a doubt, the most exciting moment of the evening came during her touching aria and 'Ave Maria', not suitable for those with a heart condition.


Madama Butterfly (Cio-Cio-San)

In Canadian soprano Michele Capalbo, (they) had a special singer who knew how to handle the complex sides of the title role, Cio-Cio-San:a girl of exquisite physical grace and a woman of steely conviction...Her Cio-Cio-San was a mixture of the girlish geisha and the very mature woman who deliberately chooses a course - marriage to an American and conversion to his religion - that will make her an outcast. Capalbo suggested the first with refined, graceful gestures. They loosened as Cio-Cio-San settled into her role as (abandoned) wife and mother. That refinement returned as psychological protection when Cio-Cio-San finally perceived her fate. The Houston Chronicle


Capalbo made a radiant Butterfly, the child bride gentle as porcelain who grows into maturity through disaster and heartache. And she has a voice to match, easily floating those stratospheric pianissimos once patented by Montserrat Caballe. The Houston Press


Canadian soprano Michele Capalbo was an eminently satisfying heroine. Her full rich voice boasted a strong lower register and a soaring top, and her portrayal, though heavily encrusted with Japanese gestures and movements, was tender and affecting. Opera Canada


The Turn of the Screw (Governess)

Soprano Michele Capalbo brought not unwelcome spinto weight and scale to the Governess's part, always retaining enough lyric grace for some lovely halftones and skillfully applied high pianissimos. An attractive and affecting stage figure, Capalbo gave a nuanced, compelling reading of this challenging but wonderful role. Opera News


La Forza del Destino (Leonora)

A splendid surprise was revealed in Michele Capalbo, Canadian soprano, in the role of Leonora. We had not succeeded in hearing her in her rare previous Italian appearances and frankly we have been quite astonished to find ourselves in front of such a wonderful artist. The voice, of considerable volume from the heavy fullness and voluptuousness, remains uniform throughout the range to the high notes, which were reached with extreme security. Besides that, she has the ability to manage the breath, allowing herself to fade and use mezzevoci with truly great effect. The "Pace, pace mio Dio" was sung with such security as to make it appear almost simple, with "Invan la pace", begun quietly and then strengthened, a vocal feat that we could define as an authentic miracle. In the end she earned the well-deserved ovation of the public.


Michele Capalbo...(stunned) audiences with her vocal depth, purity of tone, dynamic acting ability and….large and burnished instrument. She seems to truly be a discovery... Her Pace, pace mio Dio was ravishing, her poignant scene with the friars touching and her dramatic spark mirrored the dark music of the famous overture.

Le Concertographe (AKA


The star of the evening was soprano Michele Capalbo. This was a Leonora worthy of mention alongside Tebaldi. She has everything we want in a Verdi soprano: surprising power; a seamless range from top to the bottom that is so important for this Leonora; rich, voluptuous tone. Her "Pace, mio Dio" was truly moving, with perfectly controlled messe di voce and thrilling highs. Opera-List


Il Trovatore (Leonora)

Canadian lyric soprano Michele Capalbo is a rising superstar whose particularly luminous Leonora nearly stopped the show with her soaring bel canto aria "D'amor sull'ali rosee." Her crystal clear voice floated easily up to its high Cs (and higher), enthralling the audience with her impeccable control and feather-light pianissimo. Opera Canada

Macbeth (Lady Macbeth)

Musically the production relies on two very strong lead singers. Michele Capalboʼs Lady Macbeth embodies the ambitioned schemer as well as the secretly insecure and guilt-ridden sinner with equal aplomb; her highlight is the sleepwalking scene with its huge dynamic and expressive contrasts. Her strong voice dominates her scenes as much as her singular colour…She enjoys acting as much as singing. Irish Theatre Magazine


Canadian soprano Michele Capalbo, dressed in femme-fatale scarlet, expresses her hungry ambition through a voice thatʼs exciting and at times voluptuous. Irish Times

The real villain of the piece is in fact Lady Macbeth, sung by Canadian soprano Michele Capalbo. What surety! From her entrance to the final exit, she (and her red shoes) dominated the performance. The Irish Catholic


Capalboʼs performance of the final sleepwalking scene was breathtaking, almost ethereal and terribly haunting. Times Argus Vermont


Corruption can come in many guises. In the form of Canadian-born soprano Michele Capalbo…it comes wrapped in dramatic beauty and poise. Her beauty even provides motivation for her husbandʼs capitulation to her murderous urgings – what man would not do anything this woman asked? Dayton Daily News


As Lady Macbeth, Michele Capalbo lusted for power with an exciting, flexible coloratura voice, one that soared easily through the rich Verdian textures. Cincinatti Enquirer

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