(newest to oldest)

“Nicholas Tamagna – intriguing in voice and character, and richly resonant.”

Renate Wagner, (2018)

“My number one that night was Nicholas Tamagna (Ermanno) – a villain who was responsible for the pitching of the tent and the invasion of the war, possessed by the desire to take revenge on Przemysławie (Primislao), who killed his brother. This is the only character that ends tragically – by suicide. Tamagna treated his secondary role very seriously – it was visible not only in gestures, movement, but above all in the performance of recitatives, which he tried to give the sound of natural speech. It was a terribly difficult task, because the Gismondo recitatives are very conventional. It came out flawlessly – it did not cross the border of good taste and was authentic.”

Mateusz Ciupka, Szafa (2018)

“Tamagna is wonderful as an operatic hero, projecting a great sense of drama and strong bel canto technique. His ornamentation was impeccable, and his nimble control was acrobatic as he expressed scorn for the tyrant whom he has allowed to live.

Still in his 30s, Tamagna seems destined to lead the next generation of American countertenors. This became clear following intermission, when he performed art songs by the French composers Francis Poulenc (1899-1963) and Reynaldo Hahn (1874-1947). The poetry of Guillaume Apollinaire was Poulenc’s favorite source for song cycles, and Les Banalités is a collection of five songs written during the Nazi occupation of Paris, three of which Tamagna sang to great effect: one serious song about love and sorrow followed by two amusing short verses about tobacco addiction and the joys of leaving the countryside to return to Paris.

Tamagna finished on a romantic note again, with Reynaldo Hahn’s setting of “À Chloris” by the French Baroque poet Théophile de Viau. Again, this was a convincing dramatic presentation by the countertenor. You can find this song on YouTube with sopranos, mezzo-sopranos and baritones, but I defy you to find it performed better than Tamagna’s performance in Swannanoa. One tends to think of countertenors singing Baroque opera, but think again. Versatility is Tamagna’s calling card.”


“…Amore in Bermuda shorts and classic jacket – an American, yet unknown in Berlin, countertenor Nicholas Tamagna made of his performance the vocal discovery of the Festival. This singer, with his sonorous and sensual voice, completed the most intricate embellishments with astonishing agility, reaching the vocal climax of the performance in a violently agitated duet with Europe, “Di Cupid al lieve dardo”, with an overwhelming coloratura swirl.”


“If you continue to insist that countertenors cannot do justice to the big castrato roles, you are obliged to listen to Nicholas Tamagna. As far as I’m concerned, the best singer of the evening, with a powerful and rich voice, and a nice sharp edge that creates the necessary drama. Siroe is perhaps a dramatically less rewarding role in his relentless goodness, but his music is fantastic, such as the pathetic ‘La sorte mia tiranna’ and the energetic ‘Fra dubbi affetti miei’, in which Tamagna exemplifies with coloratura bitter and accusing bursts of laughter.”


“Wonderful is the intervention in the last aria of Siroe, beautifully sung by countertenor Nicholas Tamagna. The aria runs sputtering like a balloon empty, and what was meant to be a happy ending turns into a stupendous demasque of a hero in full baroque splendor…remarkably virtuoso, sung with heart and soul…defends the unknown, beautiful arias of Hasse with passion and conviction. An evening of baroque at its best.”


“Countertenor Nicholas Tamagna sounds royal. He tosses off his high notes and coloratura as if he is throwing rose petals at a wedding. With an ease and joy, it was not strange that at the Enschede premiere the room already stood up immediately and gave a standing ovation before the closing ensemble had begun.”


“Nicholas Tamagna especially masters his role as the eldest son Siroe, whose countertenor is a stand-out.”


“At the Reisopera, the role of Siroe is sung by the American countertenor Nicholas Tamagna, blessed with a powerful, altogether radiant alto sound. He can easily handle the vocal caprioles in the rage arias, as well as the lyrical passages in which he expresses his love for Emira.”


“American countertenor Nicholas Tamagna is wonderful as the despairing Siroe and brings his role very credibly to the spotlight.”


“The title role features countertenor Nicholas Tamagna. He succeeds in an exciting portrait of an almost too virtuous and generous prince, who can finally ascend to the throne despite nasty intrigues. His countertenor voice is of admirable suppleness and great expressiveness.”


“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

“Nicholas Tamagna as Cosroe’s first contemptuous and then victorious royal son Siroe not only pulls out all the stops of his exceedingly magnificent counter-tenor voice, but touches it with an extremely credible depiction. Tamagna’s great aria “Se l’amor tuo mi rendi” in the third act with its rhythmically intricate, breathtaking jumps and coloraturas left me breathless. This aria of heartfelt brotherly love, one of the most beautiful of the late Rococo, is reminiscent of jumping lambs in a painting by François Boucher…Like Philipp Kappeler and Yulia Sokolik with the rest of the ensemble, Nicholas Tamagna makes it very clear how a new generation of singers today masters these parts of the human voice of Hasse’s opera brilliantly and to the delight of the audience. The highest vocal technical demands of these arias are among the most difficult and demanding, which the century of the true bel canto and the greatest vocal art from the Neapolitan school had to offer.”

Guido Müller, IOCO.DE, 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

“The alto air: Here the Deities approve (track 18), marvelously sung by Nicholas Tamagna, is a lesson in singing.” (Son of England – Purcell-Clarke Album with Le Poème Harmonique 2017)

Robert Sabatier, BAROQUIADES, 2017

“Nicholas Tamagna, countertenor, uses a wide palette of sonority going from sounds almost spoken to beautiful flowing phrases with an ample and sonorous timbre… The singer, convinces as the Sorceress, moving agile and unleashing a sonorous power that is impressive without ever altering the timbre… The countertenor is very much at ease in the high range, which demands a certain physical engagement… The public was delighted and applauded generously for the musician of the words, and the poet of sounds.”

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…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!”


“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