Victor Benedetti

Baritone

Reviews

Il Prigioniero (Il Prigioniero): “Benedetti defined the terror and delusion of Dallapiccola’s prisoner with subdued pathos.”

                                          - The Financial Tmes 

 

Lucia di Lammermoor (Enrico): “along comes Victor Benedetti, a burly Ashton with a baritone to match. He really paints the

portrait of the villainous Lord, and he has a big, commanding sound for the music. This is not a nice guy.”

- Miami Herald

 

Of Mice & Men (Slim): “Benedetti who has a voice that stands out for its beauty turned in a particularly affecting performance.”

                                              - Washington Post

 

Don Giovanni (Giovanni): “ Here is a baritone voice worthy of Mozart, Verdi, Wagner, and anyone else requiring a singer

who can reach the farthest rows without making those close up suffer. His portrayal is on target and his musicianship flawless.”                                        - New York Times

 

Falstaff (Ford): “ Victor Benedetti’s Ford was, simply put, great. His powerful, rich voice was combined with a perfect

    characterization of the scheming, jealous husband.”                         - Asbury Park Press

 

Magic Flute (Papageno): “Victor Benedetti was a wonderfully comic Papageno. His deep baritone and controlled vibrato gave his arias a heftier quality than they often have, and he was comfortable enough with the text to make it seem thouroughly conversational.”                                                                                   - New York Times

 

Anya 17 (Viktor): “As Viktor, baritone Victor Benedetti was an intimidating presence throughout, each word and movement dripping with violence.”

- Opera News

 

Carmen (Escamillo): “American baritone Victor Benedetti made a handsome and suave Escamillo. His baritone voice is sensual and dark, thick and resonant. The overall power of his voice plus his captivating, spirited performance of the popular Toreador Song made for a near-perfect interpretation of the much-loved bullfighter.”

- Flying Inkspot

 

Scrimshaw Violin (Sandy Lincoln): “Benedetti had a real triumph as Lincoln; his resonant baritone was instantly authoritative and his acting true. He conveyed the rabbi’s equivocal nature and newfound spirituality was a bracing terseness that skirted melodrama or sentimentality.”

- Opera News

 

Il Prigioniero (Il Prigioniero): “Victor Benedetti played the prisoner with riveting intensity and a penetrating baritone which could have just as easily be that of the Marquis of Posa from Verdi’s Don Carlo. The Prisoner must be a baritone of major vocal and acting ability. Benedetti was the perfect choice.”

- Classical New Jersey

 

Le Nozze di Figaro (Count): “Benedetti, who gave a solid performance, may have been the strongest singer onstage.”

- New York Times

Finta Giardiniera (Nardo): “Outstanding was the booming baritone of Victor Benedetti, whose authoritative voice and diction provided his buffo character, Nardo, with depth and humanity.”

- Washington Times

 

La Bohème (Marcello): “Benedetti is a dominant force here, his burly baritone tolling out impressively throughout Puccini’s music. He also lends a dramatic strength, a boulder around whom the Bohemian quartet coaleces.”

- Twin Cities Reader

 

The Consul (John Sorel): “As John Sorel, the fugitive freedom fighter, Victor Benedetti has a smooth and well-supported baritonethat made nice work of Menotti’s lyric passages.”

- Washington Post

 

Don Giovanni (Don Giovanni): “Baritone Victor Benedetti inhabits the title role with a gruff, constant irritability that communicates the competingpressures the Don feels, admitted or not, between his never flagging libido and a gathering crowd of victims intent on stopping him. Benedetti has a smooth and sinuous baritone sound, a young and vigorous voice. But what makes his characterization effective in the final chained march to the Underworld, is the way he pressed tension and panic into his singing without meddling technically with a free spinning vibrato or flexible phrasing.”

- Star-Ledger

 

L’Elisir d’Amore (Belcore): “Benedetti’s handsome stage presence and resonant baritone were well-suited to a man who thinks himself every woman’s dream.”

- Virginia-Pilot

 

Le Nozze di Figaro (Count): “In this production, Victor Benedetti, a baritone with a dark voice, played a character who could get a belly laugh but who also could be menacing as well.”

- Grand Rapids Press