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Critical Acclaim |
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La Marseillaise "Maria Stuarda" - Marseille, Mecredi 22 Juin 2005
The tenor Gioacchino Livigni very correct here... usually at the height of his vocal task, especially in the parts sung half tinted, remarkably refined.
Simone Serret
Portland Press Herald July 31, 2004
"Cavalleria Rusticana" and "Pagliacci," which opened Thursday night at Merrill Auditorium and will conclude today. From a musical standpoint, the production is one of the best in memory. What is really astonishing, however, is that both operas are not only emotionally charged, but also believable, which is what "verismo" is all about. (Leann Pantaleo) took fire … in her duet with Turiddu, well sung by tenor Gioacchino Lauro LiVigni, who knows how to strut like a young Mussolini. (Opera set in 1939) It is surprising, when hearing "Cavalleria" once again, what a religious opera it is — half the first scene concerns the faithful going to church. But it is this atmosphere of belief that makes the characters' motivations credible, from Santuzza's remorse to Turiddu's premonition of doom. The Vaughn and Reggioli collaboration makes this evident.
Christopher Hyde
Opera-L August 2, 2004
As Turridu, tenor Gioacchino Lauro Li Vigni was an equally thrilling discovery. A good looking, little guy with a voice as big and warm as Italy, this is a singer who should be gobbling up work all over the place (and evidently is doing just that). His Turridu was a bit more of a jerk than usual but made the most of his farewell to Mama Lucia and winning sympathy. (Both nights he was excellent, but closing night, he milked the scene for everything and brought down the house). The duets between Pantaleo and Li Vigni were passionate, the sparks almost tangible, incendiary.
Paolo Padilla
Frankfurt Main-Spitze June 26, 2004
Gioacchino LiVigni gives, to conclude, a radiating clear Don Ramiro... an opera evening very much worth seeing.
Markus Häfner
Frankfurter Rundschau June 22, 2004
Gioacchino Lauro LiVigni as Don Ramiro knows how to set himself in the scene, although the strong, proud moments are appropriate for him more than the lyric.
Tim Gorbauch
Opera News April 2004
Boris Godunov Review: [At the Met] every role matters... bright-voiced debutant Gioacchino Li Vigni (Khrushchov) should remember that Lawrence Tibbett and Jerome Hines joined the Met in Boris cameos...
David Shengold
The Advocate - Southern Connecticut April 11, 2004 - Stamford
Arrigo Boito put into (libretto) the love duet, "Gia nella notte densa" in Act 1 of Verdi's opera "Otello." Tenor Gioacchino Li Vigni gave rich, firm tones to Otello's verses...
Jerome R. Sehulster
Frankfurter Neue Presse November 10, 2003
Since the production does not foresee any heroes, Gioacchino Lauro Li Vigni’s charming and easily goofy Almaviva is right on target.
by Rudolf Jöckle
Frankfurter Allgemeine (Rhein-Main-Zeitung) November 10, 2003
Giving a guest performance Italian Gioacchino Lauro Li Vigni was a vocally agile and playfully capable of change Count Almaviva.
by Guido Holze
The New York Times NYC - April 9, 2003
The Metropolitan Opera National Council Grand Finals Concert on Sunday was packed with professionals... Think of these nine singers as the product of minor-league winnowing: eminently ready for triple-A ball with a few not that far from the big time. Winners are in the eyes of the beholders... In the audience ballpoint pens furiously checked off personal favorites. Tenor-Gioacchino Lauro Li Vigni-got big applause... Mr. Lauro Li Vigni manfully wrings every possible virtue from the voice given him, and his career will continue.
- Bernard Holland
Philadelphia CityPaper November 14-20, 2002
"One of the pleasures of attending AVA is hearing young singers develop and grow. Cuban soprano Eglise Gutierrez and Sicilian lyric tenor Gioacchino Lauro LiVigni partnered each other memorably in La Sonnambula and Falstaff these last two seasons, and both were little short of sensational here. In Edgar and Henry's saber-rattling Wolf's Crag scene, frequently cut, LiVigni sang superbly and gave a magnificent account of Edgar's testing final scene."
David Shengold
Courier Post New Jersey - Sunday, November 10, 2002
"Two young singers find fresh drama in Lucia di Lammermoor Soprano Eglise Gutierrez and tenor Gioacchino Lauro LiVigni make the most of these scenes in the potent production of Lucia di Lammermoor staged by the Academy of Vocal Arts Opera Theatre. The two young singers blend their voices radiantly in the love duet that caps the first act. Then, after Edgardo reads the wedding contract, LiVigni curses Lucia with a ringing voice filled with rage and despair. Li Vigni sings with beauty and polish in the suicide scene that caps this tragic opera. His suave voice caresses the vocal lines before opening up intently in the climaxes."
Robert Baxter (Correspondent for Courier Post and Opera News)
Opera News June 2002
"Chicago Opera Theater's Così fan tutte showcased talented young singers with truly impressive stage smarts Li Vigni's tenor is fresh, appealing, and wonderfully unfussy."
David J. Levin
The Royal Gazette Bermuda March 18, 2002
"Tenor Gioacchino Lauro Li Vigni's performance with The Bermuda Philharmonic was a glorious performance by this miraculous tenor... This music is almost synonymous with Italy, and this singer performed it with a grace and ease which swept the audience along."
Rebecca Zuill
Courier Post November 26, 2001
"Falstaff rounds out the commemoration of Verdi's death at AVA... Gioacchino Lauro Li Vigni and Eglise Gutierrez make an appealing pair of young lovers. Li Vigni fills out Fenton's lines with a manly tenor."
Robert Baxter
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