Verdi: Messa da Requiem at the Hollywood Bowl
DiGiacomo, if not 100%flawless, proves quite remarkable here, her superb dynamic control, ability to soar over the assembled forces and deep commitment to the text very persuasive.
The greatest pleasure comes from the soprano, Julianna Di Giacomo, whose ravishing tone is spread evenly across a true Verdian range, with a honeyed lower register and high notes which can sear the ear, though never screechingly so.
Gramophone, Malcolm Riley
The four soloists were a throwback to the golden age of singing, mammoth voices singing Verdi. Soprano Julianna Di Giacomo was particularly outstanding. Her large soprano voice was pliable with a burnished lower register and searing high notes; her phrasing and line seemed endless. Furthermore, her dramatic acuity was exemplary and resulted in a gripping Libera me.
Di Giacomo’s is the truest Verdi soprano voice I’ve heard in recent memory.
Bachtrack, Matthew Richard Martinez
Rozenn in Le Roi d’Ys at the Opera Comique, Paris
Révélation californienn. The prize of the evening goes without question to the soprano Julianna Di Giacomo, in the role of Rozenn, dazzled. California soprano stands out as an ideal interpreter of the role, with a sensitivity in phrasing, homogeneity register and seduction. How can we not admire her knowledge of the pianissimi and the influence of her bright treble, as well as her perfect diction, she does not speak a word of French, and who also happened to be in France for the first time. Beautiful actress finally, it makes all the freshness and full transparency of this complex character.
Donna Anna in Don Giovanni at the Los Angeles Opera
The most intriguing voice of the cast belonged to soprano Julianna Di Giacomo. As the tormented Donna Anna, Di Giacomo projected her powerful instrument with plenty of bite and line. It’s a thrillingly large voice with an intelligent musicality behind it…Dramatically, she was convincing with “Or sai chi l’onore” being a highlight of her performance.
Bachtrack, Matthew Richard Martinez
Di Giacomo, whose international career is now well-established, showed both power and expressiveness as Donna Anna, and was met with audience ovations for her two major arias.
Mathilde in Guillaume Tell at the Caramoor Festival
With the arrival in Act II of the soprano Julianna Di Giacomo as Mathilde, came the evening’s first lightning bolt: a show-stopping account of the aria “Sombre forêt,” ravishing in its emotional efficacy and nuance. Ms. Di Giacomo had a lustrous evening.
Steve Smith, New York Times
The vocal star of the evening was Julianna Di Giacomo as Mathilde. When she finally appeared at the start of Act II, her big dramatic soprano and flawless opening aria and duet with Arnold put her in a different league from the other singers. Ms. Di Giacomo’s performance conveyed the work’s relationship to more heroic styles of operatic writing that would follow Rossini; she combined power and weight with bel canto flexibility and line.
Heidi Waleson, Wall Street Journal
Leonora in Il Trovatore at the Metropolitan Opera
But the icing on top of the cherry was our heroine sung by American soprano Julianna Di Giacomo. Rarely does any audience get the chance to witness greatness on stage. Those of us there that night can count ourselves among those few. Ms. Di Giacomo’s performance was a tour de force of the human condition. Perfectly acted with the right balance of young love and restrained maturity, she had the audience in the palm of her hand the entire evening. With flawless coloratura and beautifully sustained lyric lines, it was sheer vocal fireworks!
Jake Johansen, Examiner.com
The new Leonora was on another level altogether. Julianna Di Giacomo, whom last season I had already had the chance to appreciate as Lina in Stiffelio, restored a partial sense of normalcy as soon as she opened her mouth. Her crystalline, well-equalized, plangent soprano had no problems in crossing over the orchestra and filling the big hall. She seems to have the equipment necessary for the bel canto repertoire: beautiful trills, legato, masterful use of the messa di voce and pianissimos, and easy agility. She also displayed an impressive low register, which she used to remarkable effect in the Miserere. Once again, the cabaletta was truncated, which is a pity, even more so when a soprano like Ms. Di Giacomo is at hand. But her Leonora was not limited only to vocal bravura; she showed considerable fire in the act IV duet with Di Luna, where her repeated, spasmodic, obsessive pleas “Lo salva” acquired a certain subterranean vein of sensuality, and was very affecting in her death scene, with a beautiful legato in the phrase “Prima che d’altri vivere, io volli tua morir”, sung in a single breath…Ms. Di Giacomo moves graciously and convincingly around the stage.
Nicola Lischi, Opera Britannia
Lidoine in Carmelites at the Pittsburgh Opera
Quite stunning were the three big voices of the evening. Julianna Di Giacomo, vocally radiant as the Young Prioress and commanding on stage, gave a heartrending delivery of her discourse on courage to the doomed women in her charge.
Robert Croan, Opera News
Led by the two prioresses, Sheila Nadler and Julianna Di Giacomo, the cast was brilliant…Ms. Di Giacomo is a marvel, her broad voice like a palette with many colors from which to choose. Hers is an essential role, but the soprano stole the stage nonetheless.
Andrew Druckenbrod, Pittsburgh Post-Gazette
Lucrezia Contarini in I due Foscari with Opera Orchestra of New York
Singing the part of Lucrezia was the American soprano Julianna Di Giacomo, recently heard at the Metropolitan Opera in Bellini’s “Norma” — she had the small role of Clotilde, but she still made you sit up and take notice. And you really had to take notice on Thursday night, in “I Due Foscari.” Ms. Di Giacomo’s voice is big, juicy, pulpy, vibrant, beautiful — an outstanding instrument. The singer combines power and lyricism, the way Deborah Voigt did, when young. As Lucrezia, Ms. Di Giacomo was often scalding; but even when she was scalding, she was elegant. I might say further that this voice is big, cutting, and beautiful — which is rare. You can pretty easily get two for three, but not three for three. This was nothing but a triumphant outing for this young soprano, and the audience cheered its head off.
Jay Nordlinger, New York Sun
Some of the vocal writing is more ornamental than in most early Verdi, particularly for Lucrezia, who refuses to accept her husband’s fate. The soprano Julianna Di Giacomo brought passionate intensity to the role, her large, bright, agile voice surpassing most of the coloratura demands with expressive ease.
Vivien Schweitzer, New York Times
The role of Foscari’s Lucrezia is a punishing one; every part of the voice, over a two-octave span, is under scrutiny. Di Giacomo was impressive in all areas. She has the agility for the wide-ranging, quick runs Verdi flung about at this stage of his career. Her phrases begin dead on pitch, without initial explorations. She has already thought about the ways in which the sound of her voice can be expressive.
William R. Braun, Opera News
Soprano Soloist in Elijah with the Cincinnati May Festival
What a joy it was also to hear the luscious soprano of Julianna Di Giacomo in her high-floating aria, “Hear ye, Israel.” Her voice had dramatic heft and lyrical beauty, and she and Blythe blended well in their ensembles.”
Janelle Gelfand, Cincinnati Enquirer
Lina in Stiffelio at the Metropolitan Opera
Julianna Di Giacomo’s Lina is stunningly sung…her accuracy in coloratura and high notes most welcome. Her guilt seems real.
Robert Levine, Classics Today
Leonora in Il trovatore at the Caramoor International Music Festival
Julianna Di Giacomo, a soprano, was equally distinguished as Leonora. She sang with a bright, elegant tone, cleanly executing florid lines and trills. Her account of “D’amor sull’ali rosee” in the fourth act was the evening’s most glorious moment.
Steve Smith, New York Times
Soprano Julianna Di Giacomo, still young but a real star on the rise, was entirely winning as Leonora. Her sweet, even girlish timbre could swell effortlessly from a whisper to a huge, thrilling bloom, and she tossed off the difficult trills and roulades with full-throated authority.
Donna Elvira in Don Giovanni at New York City Opera
The greatest exponent of passionate intensity was the strongest singer. Julianna Di Giacomo, as Donna Elvira, was a definite vocal presence with a firm, vivid sound that should herald a fine future.
Anne Midgette, New York Times
The cast on offer was generally young and amiable, with one truly outstanding talent – Julianna Di Giacomo, who fulfilled the promise of her eager Fiordiligi at NYCO last season with a compelling Donna Elvira. Di Giacomo’s ‘Mi tradi’ and her Act II scene, beginning with “Ah! taci, ingiusto core,” were poised and tender, her characterization assured and her shaping of the vocal line impeccable and imaginative. It has been a long time since New York audiences have heard this character’s music sung this well.”