“Nicholas Tamagna est un esprit messager à la voix de contre-ténor sonore. Il finit ses phrases avec des projections de souffles amples, vibrées. Sa voix est chaude malgré l’aigu du registre, ce qui lui permet de marier son timbre à celui de l’orchestre ou avec le pincement du clavecin. Il repart dignement en chevauchant le mérou pour noble destrier.”

“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.”

Olyrinx.com, Charles Arden, November 2016

“… And Nicholas Tamagna (a Rodrigo veteran) as the latter performed their many mostly extraneous arias exceptionally well. Tamagna displayed a warm round decidedly unhooty voice, admirably even from top to bottom, and a trenchant fervor in even his most formulaic music.”

Parterre.com, Christopher Corwin, June 2016

“Dans le personnage du musicien nous avons découvert un contre-ténor Nicolas TAMAGNA doté d’une voix puissante, magnifique, chaude et souple, possédant une technique de chant prodigieuse à l’extrême doté d’une polyvalence dramatique évidente. Son timbre de voix est lumineux, d’une très grande musicalité. Sous les applaudissements !!! Les saluts furent innombrables, en bis il nous offrira le très célèbre aria extrait du « Roy Arthur ! « COLD SONG »qui fut immortalIsé dans les années 80 par le chanteur allemand KLAUS NOMI. Avec ce chant TAMAGNA a exalté le public … Inouï !!!! à vous couper le souffle !”

Publics de l’opéra de Rouen, André Junement, May 2016

“Countertenor Nicholas Tamagna, as Aritmetica, brought brilliance to the role…In the title role (of Figliuol Prodigo), Tamagna was outstanding, with a remarkable range of expression, and great inventiveness in ornamenting the repeating sections. He brought evocative emotion to poignant arias, such as “Con la spoglia del pentimento” (Adorned with the rags of repentance).”

The Boston Musical Intelligencer, Liane Curtis, April 2016

The Sorceress’s “trusty elf” doesn’t just show up for his short speech instructing Aeneas to abandon Dido for his Roman destiny but is also present for much of the action. And, in a fully realized characterization, sweet-voiced countertenor Nicholas Tamagna conveys sadness when delivering the news that will force Aeneas to break Dido’s heart.

Opera News, Judith Malafronte, October 2015

“Baroque opera is world theater, a forum, for which we have clearly good guys and bad guys. On Wednesday the celebrated countertenor from Münster’s production of Ariodante, Nicholas Tamagna, sang his solo program “Villains and Fools” in the cadre of the “Baroque Music Days” Festival, and gave exactly each character.

Tamagna can do everything: Villain and Fool and even more. And he is really a man born for the stage. Every aria rang throughout the Landesmuseum, with a palpable ring, not only with singing, but also with acting. Every small gesture was purposeful and showed a grander meaning, whether, he was bemoaning his love as Orlando, the unrequited lover of the promised Angelica or raging on as the vengeful Tolomeo (from Giulio Cesare). In Antonio Vivaldi’s “Alla caccia dell’alme e de’ cori” he gave himself as Warner before the shamefully beautiful Cori – and mobilized his perfect technique throughout the aria, with razor-sharp perfectly exact coloratura. Breathtaking!

Nicholas Tamagna, the charming as well as nice young Man from New York, greeted his guests in perfect German, impressively with diamond perfect intonation. One was literally hanging on every little note of his vocal line, so even and exact from top to bottom regardless of how fast or how slow the voice was moving. Also the color of his countertenor is so pleasant and above all even throughout his wide rage. This was a voice completely naked, virgin pure, and seraphic in quality. Tamagna by contrast as a countertenor has more earth in his voice, even in the highest notes. And it sounds so natural and believable, for all in any moment, so completely satiated from the sadness in the last aria was the audience treated to Mozart’s aria for Farnace from Mitridate. Naturally grandiose were every aria from Ariodante (which he currently sings in Münster) spun out efforlessly.”

Münsterlandische Nachricht Zeitung, Christoph Schulte im Walde, April 3, 2015

“Stilsicher sang Countertenor Nicholas Tamagna den Polinesso, treffsicher bis in tiefe Lagen und textverständlich klangen seine Koloraturen, dabei spielte er überzeugend den ruhmsüchtigen Bösewicht” (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)

Harald Suerland, WESTFÄLISCHE NACHRICHTEN, 2015

“The countertenor Nicholas Tamagna interprets the role of Oronte with a beautiful voice and a luminous timbre; 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)

Honigsammler, BADISCHES-STAATSTHEATER-KARLSRUHE.BLOGSPOT.DE, 2015

“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.” (Farnace, Mozart’s Mitridate, Little Opera Theatre of New York)

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.” (Rodrigo, Handel, operamission NYC)

DeCaffarrelli, PARTERRE BOX, May 2013

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

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.” (Messiah, Princeton Pro Musica, New Jersey)

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.” (Farnace, Mozart’s Mitridate, Little Opera Theatre of New York)

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.” (Ruggiero, Alcina, Pocket Opera of New York)

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.” (Orfeo, Glück, Opera Memphis)

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.” (Giulio Cesare, Händel, Bel Cantanti Opera, Washington DC)

Mark J. Estren, WASHINGTON POST, 2009