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Ténor Rock`n`Roll
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BERLINER MORGENPOST
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Pitch Perfect
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CLASSIC VOICE ITALY
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THE TIMES REVIEW
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September‘s “Style Mag” cover goes to Vittorio
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Vittorio Grigolo Could Match the Tenor of Our Times
NEW YORK — When the rising opera star Vittorio Grigolo was a child prodigy, a very famous man gave him some sound advice.
"This is what Pavarotti said to me," Grigolo, now 33, says. "'Charisma is something you either have or you don't.' He said that you can learn to sing better, but that sense of energy is something you can't be taught."
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Opera News
Youthful male passion is the natural element of the Italian tenor hero. He is often a young man possessed by a longing so sincere and intense that it can only be expressed in lyric form. Even the mendacious Duke of Mantua can inhabit this mode; as he courts Gilda, he incarnates the trope of innocent yearning so convincingly that he succeeds in fooling himself. Vittorio Grigolo thrives in this territory.
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Opera’s Rising Star: Vittorio Grigolo
It is a few hours before the curtain rises on Puccini’s La Bohème now at the Metropolitan Opera in New York, and 33-year-old Vittorio Grigolo, the handsome, increasingly prominent face of international opera can be found resting in a stuffy, decidedly drab dressing room tucked in the basement of Lincoln Center. Making my way through the confounding labyrinth of tunnels before ending up outside his door—assistants are bustling up the corridor, a piano is playing in the distance, somebody is practicing scales, and the air, quite suddenly, smells thickly of an intoxicating cologne.
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The State of the Art
It's hard to know how to react to opera hype. No one in 2010 wants to buy into a media construction, but when it comes to opera, the relevant media are so predictable and transparent (a major PR coup for a singer consists of some combination of the cover of Opera News and a profile in The Times) that it is very simple to know who is hyped, and more difficult to know whether the hype is unjustified or misleading.
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THE CLASSICAL REVIEW
The Metropolitan Opera has not had a season without La Bohème, since 1997-98, which must give Franco Zeffirelli’s production a status in the opera world not unlike Agatha Christie’s Mousetrap in London theater. Inevitably, casts have had their ups and downs, but last year’s, headed by Anna Netrebko and Piotr Beczala, may well have been the finest the production’s lavish sets have yet accommodated.
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Vittorio Grigolo makes promising Met debut, partnering with Maija Kovalevska in 'La Boheme'
NEW YORK, N.Y. — It was a night of debuts — led by the promising young Italian tenor Vittorio Grigolo — as the Metropolitan Opera revived Puccini's "La Boheme" for the first time this season.
But the most accomplished performance Saturday night was turned in by a singer who was new to neither the house nor the production. Maija Kovalevska, a Latvian soprano who made her debut in this opera four years ago, was deeply affecting as Mimi, the Parisian seamstress who falls in love with the poet Rodolfo but is doomed to die of consumption.



