“With Countertenor Nicholas Tamagna an excellent singer was available to perform Siroe, who not only shapes this gigantic role convincingly, but conquers it with immaculate floating notes and expressive and intense tones from start to finish.” (“Siroe” at Oldenburger State Theater)

Wolfgang Denker, Der Opern Freund, 2017

“Siroe, the king’s son, is a doubting and vulnerable hero. Sensitively sung by Countertenor Nicholas Tamagna.” (“Siroe” at Oldenburger State Theater)

Helgard Füchsel, RADIO BREMEN, 2017

“Countertenor Nicholas Tamagna stands out as the fine and dramatic Siroe who emerges fearlessly right at the beginning into the virtuosic turmoil.” (“Siroe” at Oldenburger State Theater)

Von Michael Pitz-Grewenig, KREISZEITUNG, 2017

“ L’air d’alto Here the Deities approve (plage 18), merveilleusement chanté par Nicholas Tamagna, est une leçon de chant.” (Son of England – Purcell-Clarke Album with Le Poème Harmonique 2017)

Robert Sabatier, BaroquiadeS, 2017

Nicholas Tamagna, contre-ténor, utilise une grande palette sonore allant de sons presque dits à de belles envolées de phrases d’un timbre ample et sonore… Le chanteur, convaincant en sorcière, se déplace agilement et dégage une puissance sonore impressionnante sans toutefois jamais altérer le timbre… Le contre-ténor très à l’aise dans la partie aiguë de sa voix demandant un certain engagement physique… Le public ravi applaudit chaleureusement: le musicien des mots et le poète des sons.”

Frédérique Epin,Olyrix, 2017

“Pompeo (countertenor Nicholas Tamagna), seems like a tough brute at first, determined to serve his queen, but soon reveals he has a heart. Tamagna sings with dignity and a gorgeous tone, offering a fine example of the countertenor voice.”

Adam Parker,Post and Courier, 2017

“Nicholas Tamagna is a messenger spirit with a sonorous countertenor voice. He finishes his phrases with projection, fully vibrating, and ample breath. His voice is warm despite the high register, which allows him to marry his timbre with that of the orchestra or with the clip of the harpsichord. He exits dignifiedly while riding on a giant grouper fish for his noble steed.”

Charles Arden, OLYRIX.COM, 2016

“Mr. Tamagna’s high tessitura and agile instrument soared with an impressive upper register, occasionally touching earth in the chest voice to add emphasis to key points in the story. His stage presence was also intense and committed, with his eyes conveying the anguish of a battle-hardened king set on retaking Jerusalem for the Crusaders.”


“With super agility he soared through his opening aria with forceful musicality… Tamagna’s Goffredo had a clarity and precision in which you could hear the clarion call of Christian purity that was at once piercing yet chestful. This is Baroque singing in all its glory.”

Masetto, ALLEGRI CON FUOCO, 2016

“Nicholas Tamagna, an intense countertenor.”

James R. Oestreich, NY TIMES, 2016

“Nicholas Tamagna…performed the many, mostly extraneous arias exceptionally well. Tamagna displayed a warm, round voice, admirably even from top to bottom.”

Christopher Corwin, PARTERRE.COM, 2016

“Barocke Opern sind Welttheater, ein Podium, auf dem für alle möglichen und unmöglichen Typen Platz ist. Am Mittwoch waren es “Schurken und Narren” – so überschrieb Nicholas Tamagna, der gefeierte Countertenor in der münsterschen Händel-Inszenierung “Ariodante,” sein Solo-Programm im Rahmen der “Tage der Barockmusik”.

Tamagna kann alles: Schurken und Narren und noch viel mehr. Und er ist wirklich ein Mann der Bühne, der in jeder der Arien, die im Landesmuseum ertönten, den Drang verspürte, nicht nur zu singen, sondern auch zu spielen. Mit kleinen großen ausdeutenden Gesten, gleich, ob er als Orlando die unerwiderte Liebe zu Angelica betrauerte oder den rachsüchtigen Tolomeo (aus “Giulio Cesare”) toben ließ. In Antonio Vivaldis “Alla caccia dell’alme e de’ cori” gab er sich als Warner vor der schändlich schönen Cori – und mobilisierte dazu seine perfekte Technik, um mit messerscharfen Koloraturen geradezu um sich zu schlagen. Atemberaubend!

Nicholas Tamagna, der so charmante wie sympathische junge Mann aus New York, der seine Gäste in perfektem Deutsch begrüßte, besticht mit lupenreiner Intonation. Da sitzt nun wirklich jede noch so kleine Note an ihrem richtigen Platz, ganz egal, wie rasend schnell Gesanglinie gerade ausfällt. Auch die Färbung seines Counters ist angenehm und vor allem in allen Lagen ebenmäßig. Es gibt diese “nackten” Stimmen, diese unschuldig seraphischen. Tamagna dagegen hat mehr Erde in seiner Stimme, selbst in der Höhe. Das wirkt sehr natürlich und glaubwürdig, vor allem in solchen Momenten, die gesättigt sind von Lied und Trauer wie etwa in Mozarts Farnace-Arie (aus “Mitridate”). Gradios natürlich jene Arien, die er derzeit in Münsters “Ariodante” schmettert!”

Christoph Schulte im Walde, Münsterlandische Nachricht Zeitung, 2015

“Nicholas Tamagna sang with stylish security the role of Polinesso, clear and secure down to the lowest depths of his voice. The text rang clear throughout his coloratura, and he also played a convincing villain thirsting for fame.” (Ariodante, Theater Münster)

Sigi Brockmann, DER-NEUE-MERKER.EU, 2015

“Engaged for the role of Polinesso, the countertenor Nicholas Tamagna endows the villain with stupendous heights and great agility in the coloratura. A highlight of the evening is his aria “Se l’inganno sortisce felice” in Act ll, when Polinesso triumphs in his successful intrigue over Ariodante. In the end, frenetic applause is given for a great evening of theater in every regard.” (Ariodante, Theater Münster)

Thomas Molke, OMM.DE, 2015

“For the villain Polinesso the theater has engaged a countertenor: Nicholas Tamagna, the elegant pirate whose life is dramatically shortened in the finale. One can’t get enough of his gallant, noble high notes. Go see it!” (Ariodante, Theater Münster)


“The countertenor Nicholas Tamagna interprets the role of Oronte with a beautiful voice with a luminous timbre, and the singer possesses a great musicality.” (Riccardo Primo, Händel-Festspiele, Karlsruhe)

Jean Michel Pennetier, FORUMOPERA.COM, 2015

“Some real greats have been engaged in this production: Franco Fagioli, Valer Sabadus and Max E. Cencic. And in countertenor Nicholas Tamagna you have, for example, a singer brought to Karlsruhe for the first time who can certainly be re-engaged in future … Nicholas Tamagna as Oronte … given his agile, supple countertenor he is a discovery for future festivals.” (Riccardo Primo, Händel-Festspiele, Karlsruhe)


“Countertenor fans make note of this name: Nicholas Tamagna (Oronte). The young singer has a forceful countertenor with a sharp timbre, radiating power and a natural sounding falsetto … the way is all cleared for countertenor heaven.” (Riccardo Primo, Händel-Festspiele, Karlsruhe)

OPERASORA, February 2014

“Oronte, the Prince of Syria, was sung by countertenor Nicholas Tamagna, who elated his audience with the aria “Dell’onor di giuste imprese.” (Riccardo Primo, Händel-Festspiele, Karlsruhe)

Udo Pacolt, ONLINE MERKUR, February 2014

“Nicholas Tamagna was thrilling as the Syrian prince Oronte with his agile countertenor voice.” (Riccardo Primo, Händel-Festspiele, Karlsruhe)

Thomas Molke, OMM – ONLINE MUSIK MAGAZIN, February 2014

“The second countertenor Nicholas Tamagna (Pulcheria’s groom Oronte) fit in beautifully with this harmonious, acoutiscally and optically, complete Handel imagery.” (Riccardo Primo, Händel-Festspiele, Karlsruhe)

Manuel Brug, DIE WELT, February 2014

“Nicholas Tamagna proved the standout in the title role, singing with a luminous countertenor, strong coloratura and dramatic conviction as he evolved from swaggering unpleasantness to humbled redemption.”

Vivien Schweitzer, NEW YORK TIMES, May 2013

“Nicholas Tamagna in the title role (Rodrigo) shone brightest with his pure, steady countertenor and his committed, anguished portrayal of the bad-guy hero.”

DeCaffarrelli, PARTERRE BOX, May 2013

“Countertenor Nicholas Tamagna in the title role – an exceptional singer with a powerful, virtuoso, yet warm and flexible voice.”

Prof. Dr. Michael Bordt, KLASSIK.COM, 2013

“Nicholas Tamagna, countertenor, gave us a truly brilliant and unusual performance(Messiah). We rarely get to hear a countertenor, let alone one with such a sweeping range and command of his art as Mr. Tamagna.”

Toby Grace, OUTINJERSEY.NET, 2012

“The countertenor Nicholas Tamagna, as the worse son, Farnace, was charismatic, vibrant in recitative and with full, rounded tone in his arias. He grew in force and stability…and he understood the most important thing about this repertory: that ornamentation serves a dramatic purpose.”

Zachary Woolfe, THE NEW YORK TIMES, 2011

“Ruggiero, composed for a castrato and usually sung by a mezzo or a tenor, was here performed by male alto Nicholas Tamagna. A slim, handsome figure and an enthusiastic actor, Tamagna possesses a voice that couldn’t resemble a sexless choirboy’s less. He fills the theater with sound like a powerhouse Verdi mezzo (I’ve heard him before, as the first ever male Ulrico [sic] in Ballo in Maschera), yet he makes a moving thing of the tender phrases of the opera’s most famous aria, “Verdi prate.” [sic] (This made me the sadder that the director cut his “Mio bel tesoro,” an equally gorgeous such number.”

John Yohalem, PARTERRE BOX, 2011

“The first evening countertenor Nicholas Tamagna took the role of Orpheus and, of all the leads, he was the most successful in capturing the essence of Orpheus: a poet who, in attempting to penetrate the mysteries of life, death, rebirth, discovers the meaning and power of poetry and song, and the destructiveness of uncontrolled human emotions. Tamagna was exquisite, combining perfect tonal quality with substantial power. His voice soared with piercing [sic] sadness and soothed with a silky beauty, giving a glimpse, perhaps, of why castrati voices became the divos of the Baroque era.”

Karyl Charna Lynn, OPERA NOW, 2010

“As Cesare, countertenor Nicholas Tamagna handled his complex runs and vocal ornaments fluently through all eight of his arias.”

Mark J. Estren, WASHINGTON POST, 2009