2015/2016 season in reviews

Eugene Onegin, Vienna State Opera, October 25 - November 5

“Luxuriös, versteht sich, auch die bis in tiefste Lagen klangschönen Phrasen in Ferruccio Furlanettos Gremin-Arie”

Die Presse

"Fürsten Gremin mit dem Längst Legendären Ferruccio Furlanetto besets ist, darf als purer Luxus gelten"

Peter Jarolin, Kurier

“Der italienische Superbass Ferruccio Furlanetto singt den Fürsten Gremin, dessen Liebes-Arie für Tatjana mit Bravos gefeiert wird“

OE24
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Macbeth, Vienna State Opera, October 4 - 21

“Entsprechend dankbar nimmt sich der Applaus aus, der naturgemäß auch Publikumsliebling Ferruccio Furlanetto (Banquo) und alle übrigen, exzellent besetzten Akteure einschließt.”

Von Christoph Irrgeher, Die Presse

Ferruccio Furlanetto vermag und nach über 30 Jahren auf der Bühne Maßstäbe zu setzen, was Phrasierungskunst, stimmliche Stabilität und Kernigkeit betrifft.

Daniel Ender, Der Standard

“Aus der Besetzung ragt Ferruccio Furlanetto als Banquo heraus – leider ist dieser zu rasch tot“

Gert Korentschnig, Kurier
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2014/2015 season in reviews

Don Carlo, Metropolitan Opera,

“The formidable Italian bass Ferruccio Furlanetto, an acclaimed Philip, still owns the role at 65. The opera revolves around Philip, who knows that the church, in the person of the Grand Inquisitor (James Morris in an earthy-voiced, ominous performance), truly holds the power. Mr. Furlanetto’s full-bodied, elegant singing was chilling one moment and aching the next, especially during the wrenching Act IV aria when the king realizes the extent of his isolation; it is some of the saddest music ever written.”

Anthony Tommasini, The New York Times

“The stage was dominated by Ferruccio Furlanetto, the rich-toned Filippo. He brooded, boomed and sighed with royal authority, shied from no range extreme, and exerted sympathy even in passages of cruelty and chaos. Although now in his mid-sixties, he shows no sign of artistic or technical diminution.”

Martin Bernheimer, The Financial Times

“Ferruccio Furlanetto seems to be the go-to man for the role of Philip at every house in the world, and with good reason: his portrayal of the king is one of the wonders of the operatic stage, a complete interpretation that exemplifies the very best of operatic performance. His rendition of the anguished “Ella giammai m’amo” was, as ever, an interpretation of profound depth, giving a glimpse of his innermost thoughts as his sound filled the house. ... there are hardly any signs of wear on Furlanetto’s voice—it remains a massive, dark, woolen instrument, and he steers it with amazing precision.”

Eric C. Simpson, The New York Classical review

“The most exciting performance came from the bass Ferruccio Furlanetto as Filippo II, King of Spain. He was fully present in every moment, fully in command of Filippo's conflicting emotions, singing always with a tone that was warm and beautiful... “Ella giammai m'amo”, Filippo's monologue was nine minutes of breathless wonder. Mr. Furlanetto is a legend, and deserved the loving ovation he received from the audience.”

David Browning, The Bachtrack.com

“For the towering role of King Philip II, it would have to be Ferruccio Furlanetto and no one else. I have seen many great Philips in my time but no other bass has so completely essayed this complex character who can rule half the world yet cannot manage the complexities of his own household. Furlanetto weds Shakespearian acting to powerfully tragic music sung in a way that is alive to each moment but also attuned to the grandeur and pathos in Verdi’s art”.

Fred Plotkin, WQXR
ALL PRESS ABOUT DON CARLO AT THE MET

Don Carlo, Sofia National Opera

“The wonderful performance of Furlanetto was greeted by long lasted ovations after the aria and at the call….his voice with beautiful timbre and vast range sounds powerful, sweet and fresh. Incomparable acting talent allowed the singer to show excellently the domineering personality and the mental anguish of his hero - Philip II, King of Spain.”

KP Balcans
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