Press & Acclaim

"Tamagna lent a sleek, beautifully lyrical sound and superb control of trills to Armindo's music, all the while revealing a remarkable talent for physical humor." — Seen and Heard International

"Spectacularly bumbling in his Act 1 aria, sung amid spine-crunching pratfalls on that spiral staircase." — San Francisco Classical Voice

"Armindo's seductively melodious Act I aria Voglio dire al mio tesoro... was beautifully sung." — Opera WarHorses

"His florid singing is on par with that of the rest of the cast." — San Francisco Chronicle

"The aura of something truly special… euphonious countertenor wielding vibrato with unique sensitivity." — Opernglas

"A shattering Refugee… a complete palette of emotions." — TheaterPur

"Vocal consistency full of variation and finesse." — Der Opernfreund

"Nicholas Tamagna souverän und auf den Punkt! Kaum jemand vermittelt diese Aufwallungen von Gut…" — Reindl Hanke

"Son interprétation flamboyante apporte une dimension théâtrale vibrante au personnage." — Anne Bos-Aug

"Erfìn, la voix de Nicholas Tamagna convient parfaitement au rôle…" — Anne Bos-Aug

"The beauty of that voice." — The New Criterion

"Heartfelt singing… made me wish he'd been singing Ottone." — Parterre Box

"Filled the house with his large, smooth alto." — GB Opera

"Radiant altus… manages vocal acrobatics with ease." — Operamagazine.nl

"A commanding interpretation from start to finish." — Der Opernfreund

"Feinfühlig gesungen… a vulnerable hero." — Radio Bremen

"Although Rinaldo is the title role, the principal is Goffredo here (Godfrey de Boullon) played by countertenor Nicholas Tamagna. 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...intense and committed, with his eyes conveying the anguish of a battle-hardened king set on retaking Jerusalem for the Crusaders." — Superconductor by Paul J. Pelkonen

"Stilsicher… treffsichere Koloraturen." — Der Neue Merker

"Stupende Höhen und große Beweglichkeit." — OMM.de

"From his heroic tones one cannot get enough." — Westfälische Nachrichten

"A beautiful voice with a luminous timbre." — ForumOpera

"A discovery for future festivals." — Badisches Staatstheater Blog

"Virtuoso, warm, flexible — countertenor heaven." — Operasora

"Luminous countertenor… strong coloratura, dramatic conviction." — New York Times

"Pure, steady countertenor… anguished portrayal." — Parterre Box

"Powerful, virtuoso, warm, flexible." — Klassik.com

"Nicholas Tamagna, countertenor, gave us a truly brilliant and unusual performance. We rarely get to hear a countertenor, let alone one with such a sweeping range and command of his art as Mr. Tamagna." — OutInJersey.net

"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... yet he makes a moving thing of the tender phrases of the opera's most famous aria, 'Verdi prati.'" — Parterre Box

"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." — New York Times

"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. Tamagna was exquisite, combining perfect tonal quality with substantial power. His voice soared with piercing sadness and soothed with a silky beauty, giving a glimpse, perhaps, of why castrati voices became the divos of the Baroque era." — Opera Now

"As Cesare, countertenor Nicholas Tamagna handled his complex runs and vocal ornaments fluently through all eight of his arias." — Washington Post