Acclaim

Polenzani–also a Richard Tucker winner–showed why he is the finest Mozart tenor of our day, singing Haydn’s arias with vibrant liquid tone and the lyric sensitivity of a lieder singer."

Lawrence A. Johnson

Chicago Classical Review

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Acclaim

... his singing this evening remained youthful, delivering “Dies Bildnis” with princely elegance."

Joseph So

Musical Toronto

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Acclaim

In this performance, featuring two Met stars, the mezzo-soprano Susan Graham and the tenor Matthew Polenzani, the storytelling aspects of the songs were paramount and the mood less heavy; profundities came through without undue emotiveness."

Anthony Tommasini

The New York Times

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Acclaim

The Les Troyens duet between Susan Graham and Matthew Polenzani was delightful for their precise, perfectly matched voices."

Ilana Walder-Biesanz

Opera-Online

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Acclaim

... Matthew Polenzani delivers a star turn as the Italian tenor."

Wilborn Hampton

The Huffington Post

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Acclaim

“Polenzani is one of the Met’s top tenors, and his second-act aria “Fuor del mar” is a show-stopper. He has the breath control of a deep-sea diver and his long runs, from the bottom to the top of the register, are remarkable. His phrasing is also consistently and notably excellent.”

Wilborn Hampton

Huffington Post

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Acclaim

But the concert began gathering real momentum when operatic tenor Matthew Polenzani dared to take on "Be My Love," a song universally identified with the unrivaled Mario Lanza. The tenderness of Polenzani's opening notes instantly marked this as an interpretation apart from Lanza's, as did the ardor of Polenzani's phrasing and inexorable swell of his crescendos ...

Howard Reich

Chicago Tribune

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Acclaim

Is there a better Mozart tenor before the public than Matthew Polenzani? Unlikely. The Evanston native brought a fresh element to the show, singing with rich, vibrant tone as well as a dramatic urgency that elevated the entire production.

Lawrence A. Johnson

Chicago Classical Review

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Acclaim

Tenor Matthew Polenzani was an exquisite Fernand, skillfully mixing Italianate tone with French style, showing a robust upper register in “Ange si pur” but tempering phrases above the staff with effective use of voix mixte, not to cover up any vocal deficiencies but to fit voice to line.

Jeffrey A. Leipsic

Opera News

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Acclaim

Polenzani is an elegant singer, and he brought a sense of vigor to his tenor part not usually heard in this piece."

George Grella

New York Classical Review

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Acclaim

in Munich they were on fire, particularly Polenzani, who created a complete and striking character as the conflicted Fernand."

James Jorden

Observer

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Acclaim

... tenor Matthew Polenzani brought down the house with his ravishing take on “Dalla sua pace.”

James Jorden

Observer

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Acclaim

The proverbial hometown boy who made good, Matthew Polenzani apprenticed for two seasons at the Ryan Opera Center and has been a familiar and welcome presence on the Lyric roster ever since. So it came as a surprise to discover that Monday marked the Illinois-born tenor's Ravinia recital debut — and a most auspicious debut it was."

John von Rhein

Chicago Tribune

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Acclaim

In the title role of Roberto Devereux, Matthew Polenzani once again showed why he is one of the leading tenors in the world. His voice continues to be a wonder in the lyric repertoire and this time it took on some dramatic colors that one had never heard."

Francisco Salazar

Latin Post

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Acclaim

He was as fine as ever on Saturday, particularly in his aria, which he maintained, along with Noseda, as a musical trance, emphasized by clear, pale falsetto high notes in the best old-school French tradition."

Anne Midgette

The Washington Post

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Acclaim

Mr. Polenzani makes a poignantly believable Nadir, who arrives soon after the election of his old friend."

Anthony Tommasini

The New York Times

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Acclaim

Many tenors can hit the notes in the high-lying aria "Je Crois entendre encore" but the music only makes its distinctively pensive impression if the singer can live comfortably up there for entire phrases while inflecting them with the intimacy of art song. And Polenzani is the guy to do that.

David Patrick Stearns

WQXR Operavore

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Acclaim

... Matthew Polenzani, singing his first Hoffmann at the house, a vocally compelling and emotionally rich account of a challenging role."

Anthony Tommasini

The New York Times

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Acclaim

... neither his brawny appearance nor focused stage presence could fully prepare the listener for the torrent of magnificent sound this exceptional American tenor produces."

Steven Winn

San Francisco Classical Voice

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Acclaim

Polenzani was sensational, going beyond the plaster saint to create a rounded and conflicted human emperor—angry at the betrayal of those he trusted and conscious of his duty yet also wanting to forgive his enemies."

Lawrence A. Johnson

Chicago Classical Review

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Acclaim

An ironclad technique allows him to faithfully respect all the dynamics indicated by Donizetti. The recitative “Povero Ernesto” is an imaginative play between forte and piano; in the first phrase of the aria, he adheres to every marking, from the staccatos on the first two syllables of ‘Cercherò lontana terra’, to the marcato on ‘Lontana’, all in the same breath ...

Nicola Lischi

Opera Brittania

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Acclaim

... this American tenor has a voice of steel and milk, authority and the utmost controlled gentleness: reason enough to go to this revival.”

Fiona Maddocks

The Observer

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Acclaim

Fresh from Così fan tutte at The Metropolitan Opera, Polenzani declaimed all that striking poetry with fine diction, clear tone and flawless vocal prowess, floating the scary ‘This ae nighte’ at the beginning and end of the Dirge and tossing off the complex runs in the Hymn with clarity and ease.”

Daniel Hathaway

Cleveland Classical

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Acclaim

His singing of Ferrando had Mozartean elegance along with exciting, tenorial ping."

Anthony Tommasini

The New York Times

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Acclaim

The formidable role of Hoffmann is ideal for Mr. Polenzani, who seems in his prime these days. It requires lyric tenor colorings and bloom. Yet there are heroic elements to the part for which a tenor must summon vocal heft and stamina. Mr. Polenzani had it all: refinement, sweep, passion and power."

Anthony Tommasini

The New York Times

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Acclaim

Matthew Polenzani, who is becoming the Met’s go-to tenor in bel canto repertory (he was wonderful as Nemorino in the company’s new production of Donizetti’s ‘Elisir d’Amore,’ which opened the season) brings melting sound and appealing vulnerability to the role of the hapless Robert Dudley (Roberto), the Earl of Leicester.”

Anthony Tommasini

The New York Times

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Acclaim

Tenor Matthew Polenzani gave a benchmark performance as her suitor Nemorino, acting with great charm, spinning out lines of silky, elegant tone and stopping the show with a masterful rendition of the opera’s well-known tune ‘Una furtiva lagrima.’”

Eric Myers

Variety

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Acclaim

Matthew Polenzani had a stellar night as an emotional Alfredo, his lovely voice strong and supple and his graceful phrasing laudable in his passionate rendition of ‘De’ miei bollenti spiriti.’”

Vivien Schweitzer

The New York Times

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Acclaim

In Polenzani’s role debut as the tortured protagonist, it’s clear from the start the Ryan Center alumnus was born to sing this touchstone French tenor part.

John von Rhein

Chicago Tribune

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Acclaim

Wilmette native Matthew Polenzani is singing his first ever Hoffmann, and he has become a splendid purveyor of French style and idiom with technical skills that carry him through major numbers in the three acts, prologue and epilogue.”

Andrew Patner

Chicago Sun Times

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Acclaim

Matthew Polenzani has the perfect tone for the role of Ferrando. He sings with a class and comfort that allows [his voice to go] to the extremes, while keeping the courage needed to dominate the formidable range [in the] tense final cavatina ‘Tradito, schernito.’”

Marcel Quillévéré

ForumOpera.com

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Acclaim

[Matthew Polenzani] remains ... an extraordinarily communicative Lieder singer, possessed of an agile and flexible voice of tremendous versatility. In the most intimiate of these settings, as well as in the quasi-operatic ones, Polenzani and Drake create performances that are at once thoughtful, richly atmospheric and never less than compelling.”

Patrick Rucker

International Record Review

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