Press Acclaim

Julianna Di Giacomo has appeared previously in a Bowl opera-in-concert performance. She appeared in “Tosca” in 2016 again with Dudamel and Thomas. Her singing in “Otello” was consistently accurate and musical and thrilling, but once again I was struck by the detail and range in a characterization. “Salce! Salce! Salce!” she sang, as Verdi specified, “come una voce lontano” in the Willow Song (in fact, very lontano, and beautifully echoed even more faintly by Carolyn Hove’s Cor anglais). “Unjustly killed,” sang di Giacomo from the side, as cast-members burst in on the murder scene. It was a rasp, dramatically appropriate. And it was as if di Giacomo had found a completely new tone, not previously-employed, in her prayer, “Ave Maria” just before the murder.

Gordon Williams, OperaWire

His Desdemona, superbly sung by Julianna Di Giacomo, was something else altogether…Di Giacomo’s Desdemona conveyed a vitality and strength.  There were moments, rare and precious, when the stars aligned just right and, for a moment, the performance was perched upon the sublime. When Di Giacomo set forth on her rapt, heart-wrenching Ave Maria, Dudamel and the Los Angeles Philharmonic were of a single mind with her. For a moment the audience vanished, the shell of the Hollywood Bowl dissolved into the starlit sky, and one was convincingly swept along by the force and humanity of Verdi’s art.

Néstor Castiglione, bachtrack

Julianna Di Giacomo (a graduate of the Merola Program) possesses an impressive voice that can project dramatic volume with clarity and when necessary turn poetic and lyrical. Her Desdemona captured the tragic innocence and confusion of the character, ending with a soaring rendition of “The Willow Song” and “Ave Maria,” that produced the largest ovation of the performance.

Jim Farber, San Francisco Classical Voice

There could be no real telling, for instance, about the size of voices. When Di Giacomo’s mike momentarily failed during the first act, the volume only slightly dropped. But she had the lung power and presence of mind to make up for it, an unscripted, thrilling moment.  Nor was Di Giacomo a meek Desdemona but an outraged one. Her intense “Willow Song” and “Ave Maria” in the last act were as sacrificial odes, far too finely focused for self-pity…further bringing out Verdi’s feminist take on Shakespeare.

Mark Swed, Los Angeles Times

Desdemona used to be a role given to Aida voices like Caniglia, Milanov, and Tebaldi but recently has gone to mature lyric sopranos who have moved on from singing Mimi and Violetta. Di Giacomo’s firm, gleaming soprano had that heroic thrust too seldom heard in her confrontations with Otello. Di Giacomo soared above the grand concertato in Act III but could float her tone with a soft sheen in the Act IV “Willow Song” and “Ave Maria.” I’d love to hear Di Giacomo take on some of the youthful Wagnerian heroines like Elisabeth and Elsa.

Eli Jacobson, Gay City News

Quizás más redonda en conjunto fue la de la norteamericana Julianna Di Giacomo, soprano lírico-spinto que, en los pocos años que lleva de carrera, está haciéndose un nombre en este difícil repertorio. Voz con volumen, no exenta de belleza, y con dominio de la media voz y el canto spianato, tuvo sus mejores momentos en el cuarto acto con la “Canción del Sauce” y el “Ave María”, cumpliendo a muy buen nivel en toda la ópera.

Carlos G. Abeledo, Tribulaciones

American soprano Julianna Di Giacomo was a remarkable Desdemona, with a rich, wide and well-handled voice. She had no trouble dominating the ensemble that ends Act III, and was brilliant in the “Willow Song” and “Ave Maria” in the fourth act.

José M. Irurzun, Seen and Heard International

Sa compatriote, la californienne Julianna Di Giacomo campe une superbe Desdemona, avec une belle voix au timbre caractérisé (qui rappelle un peu celui de Pilar Lorengar), puissante et souple, et un bel engagement dramatique.

Jean Michel Pennetier, Forum Opera

Sotto numerosi punti di vista la Desdemona di Julianna Di Giacomo risponde alle intenzioni della regia. Angelo umanato sceso in terra a miracol mostrare, il personaggio evidenzia un miracolo essenzialmente canoro, intessuto di note flautate, acuti cristallini e morbidi filati. La Di Giacomo ha a disposizione uno strumento possente e ben modulato, che sa piegare alle necessità espressive richieste dalla partitura… Nella parte conclusiva uniforma la resa vocale a morbidezza eterea, misurata con giusto equilibrio nella Canzone del Salice e poi espansa nella celebre Ave Maria. Prevedibilmente il pubblico la premia con gli applausi più fragorosi, compensandola del torto subito dalla violenta mano del consorte.

Ilaria Grippaudo, GB Opera Magazine

La Desdemona di Julianna Di Giacomo: la sua voce ha un timbro dolce ed è emessa con morbidezza, l’“Ave Maria” è uno dei momenti più intensi di tutto lo spettacolo e il pubblico le dedica calorosi applausi.

Walter Vitale, Opera Click

La creazione di Julianna Di Giacomo in Desdemona è commovente e vera. La cantante affronta il ruolo con voce equilibrata e calda, che anche nei momenti di maggiore impegno riesce a coinvolgere per consistenza e pacatezza.

Monika Prusak, Il Corriere Musicale

Premesso l’estremo fascino esercitato dalle invenzioni di Nekrošius, va detto che tra le voci si stagliava per perfezione di emissione e fraseggio quella di Julianna Di Giacomo, soprano dal timbro ricco e variegato, duttile e cristallina, precisa e intensa sul piano espressivo.

Lorenzo Mattei, GB Opera Magazine

Linea di canto perfetta per il soprano Julianna Di Giacomo, che ha cesellato una Desdemona intensa e vocalmente fascinosa.

Fernando Greco,

Molto bene Desdemona,Julianna di Giacomo,la trionfatrice della serata: una voce sonora e squillante,ben amministrata da una tecnica solida.

Enrico Stinchelli,

The big news is the spectacular company and role debut of soprano Julianna Di Giacomo, as a touching and deeply-felt Amelia Anckarström. A graduate of the Merola Opera Program, Di Giacomo has the ideal voice for this role, beautiful, fresh and easily produced, from glowing top to bottom. She lacks for nothing technically, singing with a gorgeous legato and noble, long-breathed phrasing, not to mention exquisite dynamic control, whether pleading for a last view of her child in “Morrò, ma prima in grazia” or contemplating the gallows at midnight in “Ma dall’arido stelo divulsa.

Lisa Hirsch, San Francisco Chronicle

Saturday at the War Memorial Opera House, it was Julianna Di Giacomo’s turn in the spotlight.  Singing the role of Amelia in “Un Ballo in Maschera,” Di Giacomo made an indelible first impression – making this revival of Verdi’s 1859 melodrama the highlight of the season so far.  Her Saturday performance registered as a revelation.  The radiant power of her voice, the ease and beauty of her phrasing and the rich, gleaming tone throughout her range were all of a piece in this portrayal of a deeply conflicted woman loved by two men.  Still, among the principals, it was Di Giacomo who lifted this “Ballo” to the heights.  Her Amelia was appealingly poised yet vocally penetrating.  The Act III aria, “Morrò, ma prima in grazia,” yielded an anguished, meltingly beautiful demonstration of her vocal gifts.

Georgia Rowe, The Mercury News

Making her company debut in the role of Amelia was Julianna Di Giacomo…She brought exceptional sweetness of tone and vocal sheen, along with control and power to match the large orchestra. Her “Ma dall’arido stelo divulsa” and later “Morrò, ma prima in grazia”, brought the largest audience applauses of the evening. Her Amelia inhabited the work’s emotional center. San Franciscans will undoubtedly see and hear more in the future from this artist.

Rodney Punt, San Francisco Classical Voice

Julianna Di Giacomo made her San Francisco Opera debut on Saturday, and a sensational debut it was! Sounding like a young Beverly Sills, Di Giacomo, a Santa Monica native and Merola alumna, has a very bright and focused soprano, which was heard to wonderful effect in the role of Amelia in Un Ballo in Maschera. From the moment she came on stage, Di Giacomo thoroughly dominated every scene in which she appeared. Amelia is first seen alone by the gallows…she sings the glorious aria, “Ma dall’ arido stela divulsa,” Julianna Di Giacomo sang this aria beautifully, with gorgeous legato. In a noble aria, “Morro, ma prima in grazia,”…Julianna Di Giacomo sang this aria with deeply moving emotion, her limpid phrasing conveying Amelia’s heartfelt clarity of moral conviction.

James Roy MacBean, The Berkeley Daily Planet

Julianna Di Giacomo’s debut as Amelia was magnificent. Di Giacomo shone from the moment she sang her first lines, trying to forget her love for Riccardo by means of magic, to the end, attempting to instill compassion in her husband Renato (“Morró, ma prima in grazia”). Her entrance in Act II – at night, in a tenebrous, lonely field – was explosive: her beautiful, warm, crystalline and, at the same time, powerful timbre filled the whole – and otherwise bare – stage.  I look forward to witnessing many more of her Verdian roles in the years to come!

Marina Romani, Musical Criticism

Di Giacomo, 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.

David Shengold, Opera News

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 a recent memory.

Matthew Richard Martinez, backtrack

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.

Malcolm Riley, Gramophone

Chi conosce Julianna Di Giacomo? Da oggi sarà una colpa non tenerla d’occhio: nella Messa di Requiem le è bastato aprir bocca per imporre un canto tanto lirico e immacolato di linea quanto solido di peso e tecnica, e perentorio di dizione e accento. È curioso ritrovarsi a proseguire per lei il discorso già fatto intorno al Don Carlo: nel Requiem di Verdi non ci sono personaggi, eppure ella vi anima, con immediata compiutezza, l’ennesimo personaggio del teatro verdiano, mobilissimo nei suoi affetti ad ogni sollecitazione verbale o musicale. Giunta alla stretta finale del Libera me, la Di Giacomo vi fa galleggiare lunghe frasi cantabili, su quel vero pianissimo che non è rifugio delle voci tecnicamente sprovvedute, ma che si espande nella sala con uniformità di timbro e pienezza di vibrazione; scambia poi fervore e commozione con un coro al più alto strato di coinvolgimento emotivo; vola infine a un Do sopracuto capace di svettare sopra un’orchestra e un coro serrati e armati quanto una falange macedone, e declama il suo ultimo versetto con un pudore e una genuinità d’altri tempi. Una gioia.

Francesco Lora, il Corriere Musicale

A cette occasion, les musiciens et leur directeur musical ont tenu à honorer la mémoire d’Henri Dutilleux, dont le National a créé la plupart des œuvres orchestrales, en proposant, en début de concert l’ « Ave Maria » extrait de l’Otello de Verdi, magnifié par le timbre clair de Julianna Di Giacomo dont l’interprétation extrêmement sobre a contribué à faire de cet hommage un moment de recueillement particulièrement intense…Julianna Di Giacomo que l’on a pu entendre, en mars dernier, à Montpellier et à l’Opéra-Comique, dans le Roi d’Ys où elle fut une touchante Rozenn, tire admirablement son épingle du jeu. Sa voix large de grand soprano lyrique, capable d’émettre des aigus puissants et ronds mais aussi d’impalpables demi-teintes, lui permet d’affronter avec bonheur les difficultés de sa partie malgré un grave un rien confidentiel. De plus, son timbre juvénile a quelque chose d’angélique qui fait merveille dans le « Libera me ».

Christian Peter, Forum Opera

Remplaçant Barbaro Frittoli au pied levé, Julianna Di Giacomo, déjà entendue voilà quelques mois dans le Roi d’Ys à l’Opéra Comique, démontre son aisance tant dans l’écriture de Verdi que dans celle de Lalo. Elle demeure l’exemple de la technique vocale américaine, souple et détendue, permettant aussi bien un ample rayonnement vocal que d’aériens piani, sans effort visible ni audible.

Elle ouvre le concert avec un « Ave Maria » d’Otello de la plus belle eau, en hommage à Henri Dutilleux, prélude à une Messa da Requiem tout aussi réussie. En somme, une superbe soirée.

Nicolas Grienenberger, Classique News

Also full of magnificent singing was the “Offertorio” – soprano Julianna Di Giacomo transforming its mood with an exhilarating one-syllable transition…But, just as the most moving moments in Verdi’s operas often come when a soprano softly encounters death, so did Di Giacomo seize the opportunity to make the closing “Libera Me” a showcase for her talents.

Rob Hubbard, Twin Cities Pioneer Press

Julianna Di Giacomo, a luminous and powerful soprano, was close to ideal, whether leading climaxes or floating soft high notes, like the adroit high B-flat in the “Libera me.

Michael Anthony, Star Tribune

Most impressive was Di Giacomo, who performed Verdi’s Requiem with Gustavo Dudamel in 2014. On Friday, her opulent tone soared above the assembled forces. She was the most persuasive in expressing the fear of judgment and hope for redemption, particularly as she sang with increasing urgency during the “Libera me.”

Samara Napolitan, Revue

Julianna Di Giacomo, a soprano with soaring height, carried the day with the fear and trembling of the final “Libera Me” in a powerful scene for soloist and chorus. Though the works ends softly, it does not disappoint.

Jeffrey Kaczmarczyk,

Julianna di Giacomo, interprete di Elisabetta di Valois, è un soprano che alterna ruoli lirici e ruoli drammatici; in effetti ha uno strumento ampio e morbido, dal timbro luminoso, non massiccio, ma molto penetrante nel settore acuto; ha affrontato il ruolo con disinvoltura, con un canto ricco di slancio e di colori.

Filippo Bozzi, GB Opera Magazine

Sul cast svetta la californiana Julianna Di Giacomo. Bella voce di notevole potenza (tanto che arriva bene al pubblico anche quando il regista le fa iniziare la meravigliosa aria «Tu che le vanità conoscesti del mondo» girata di spalle verso la tomba di Carlo V, sul fondo) e interpretazione intensa: gli applausi più calorosi, dopo quelli tributati a Mehta, sono stati per lei.

Roberta Monetti, Firenze Post

La Leonora de Julianna di Giacomo cuenta, al igual que D’Intino, con una voz generosa y generoso vibrado, sobre todo en el registro agudo. Conmovió al público especialmente en “D´amor sull’ ali rosee”, una escena y aria de gran complejidad que supo resolver con éxito, e incluso arrancó algunos bravos.

Andrea G. Torres, La Nueva España

La Leonora de Julianna Di Giacomo fue, para quien firma, lo más atractivo del reparto. No sólo por su correcta presencia vocal, sino también por su sincera entrega sobre las tablas. Algo que, muchas veces, permite trazar la línea entre auténtica tragedia o mera sobreactuación.

Javier Labrada, Platea Magazine

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

Making her Cincinnati Opera debut, Julianna Di Giacomo brought a dark-hued voice of power and beauty to the music. It is a substantial instrument, yet capable of navigating the florid music skillfully (though the trill is not distinct). She molded Leonora’s more languid the phrases sensitively, and, in the final act, her exchanges with Count di Luna showed considerable fire.

Joe Law, Opera News

As Leonora, Julianna Di Giacomo made her company debut with luminous tone and emotional intensity. Di Giacomo, who has performed the role at the Metropolitan Opera, communicated with seamless line and effortless flights of coloratura… Her most memorable moment came in the final act. Here, her fragmented lines, interrupted by the offstage “Miserere” of the chorus of monks as well as the troubadour’s song, created wonderful atmosphere.

Janelle Gelfand, USA TODAY

Chi ha giustamente destato più entusiasmo nel pubblico è stata però proprio l’unica artista che debuttava in Cile con queste recite, l’americana Julianna Di Giacomo come Leonora , uno dei ruoli sopranili più difficili e impegnativi concepiti da Verdi: dotata di un materiale vocale imponente e ben proiettato, di un timbro caldo e piacevole, è riuscita a evitare tutte le insidie della partitura (in particolare fra i suoi momenti solistici brilla l’aria “Tacea la notte placida”), e anche se in alcuni casi ha mostrato occasionali disomogeneità e la sua interpretazione potrà ulteriormente maturare e raffinarsi registrazione e interpretazione disallineamenti possono ancora in evoluzione, riesce già a trasmettere molto bene le emozioni e i sentimenti del suo personaggio attraverso il canto e la recitazione.

Joel Poblete, L’Ape Musicale

Leonora, per un’improvvisa indisposizione, è interpretata dal soprano californiano Julianna Di Giacomo. Visibilmente emozionata in “Tacea la notte palcida”, esegue però una cabaletta “Di tale amor che dirsi” precisa, vivace e temprata. Il suo è un volume importante accompagnato da uno spessore timbrico ben gestito soprattutto nella resa della agilità e dei picchiettati.

Francesca Di Giacomo, GB Opera Magazine

The first to prove her worth was Julianna Di Giacomo, her beautiful soprano thriving in this repertoire: a rounded voice rich in overtones that reaches high notes with ease and dives into the chest register without hesitation, yet is also capable of singing vulnerably. Di Giacomo was there to live the story of love and horror, even if her score was the only prop she had. Her Elena was way more dramatically compelling than what many other singers on sophisticated staged productions are ever able to achieve. “Oh mio fratel, Federigo”, the first line of her first recitativo, is all it took for her to draw everyone into her sorrow.

Laura Furones, bachtrack

Soprano Julianna Di Giacomo was a vocally brilliant heroine. Her voice excelled with brightness and colour, also in vocal extreme situations. She intensely conveyed Luisa’s innocent and mild personality (Luisa is the only one to reject Miller’s values until the end), and Di Giacomo pulled out all the registers from the glittering entrance until her miserable, dark-shadowed agony.

Lorenzo Fiorito, bachtrack

Julianna Di Giacomo adroitly lightens her voice for Act I when Maddalena is still a naive young lady; her voice assumes a spinto tone and heft once her character’s life has taken its harrowing turn with the arrival of the revolution. She received a very nice ovation for «La mamma morta». The final duet..volcanic.

Michael Johnson, Concerto Net

Soprano Julianna Di Giacomo had crystal clear high notes that carried through out the hall.

Maria Nockin, Broadway World

La palme de la soirée revient sans conteste à la soprano Julianna Di Giacomo qui, dans le rôle de Rozenn, a ébloui. La soprano californienne s’impose comme une interprète idéale du rôle, avec une sensibilité dans le phrasé, une homogénéité de registre et une séduction dans le timbre qui emportent totalement l’adhésion. Comment ne pas admirer également sa science des piani et des pianissimi, le rayonnement de ses aigus lumineux, de même que sa parfaite diction, elle qui ne parle pas un mot de français, et qui se produisait d’ailleurs pour la première fois en France. Magnifique actrice enfin, elle rend toute la fraîcheur et toute la transparence de ce personnage complexe.

Emmanuel Andrieu, Concerto Net

Révélation avec la Rozenn de la californienne Julianna Di Giacomo, effectuant avec ce rôle ses débuts français. Belle représentante de l’école américaine, elle respire la sérénité par son chant souple et détendu, puissant et pourtant toujours flottant, déployé plutôt que poussé, laissant simplement monter le son tandis que le soutien offre le socle indispensable à cet épanouissement vocal. Elle possède en outre une diction française digne d’éloges, aux voyelles claires et parfaitement définies, un modèle du genre.

Nicolas Grienenberger, Classique News

D’un côté, le faire-valoir théorique, Rozenn : le rôle est dévolu à Julianna Di Giacomo. C’est la révélation, à nos ouïes, de la soirée. les notes sont tenues avec grâce et sûreté ; les sautes de registres sont pipi de chat pour cette interprète formidable ; le phrasé est globalement très intelligible ; et le rôle – un peu niais, à notre aune – est interprété avec fermeté et dignité.

Bertrand Ferrier,

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.

Matthew Richard Martinez, bachtrack

Di Giacomo, herself born in Los Angeles County, is a dramatic soprano 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.

William, Opera Warhorses

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.  Here is an essential role, but the soprano stole the stage nonetheless.

Andrew Druckenbrod, Pittsburgh Post-Gazette

Young American soprano Julianna Di Giacomo produced a high-caliber, beautifully sung, poignant Angelica. Her mellow middle range made her shine in the group scenes, and her crisp top notes produced an emotionally charged finale.

Roberto Herrscher, Opera News

Julianna Di Giacomo, dès le début, montre une grande capacité vocale. Sa voix est dotée d’un beau timbre, d’une grande puissance, l’émission est solide. Elle a convaincu un public qui attendait la croissance de son emotion.

Santiago Martín Bermúdez, Concerto Net

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 has dramatic heft and lyrical beauty, and she and Stephanie Blythe blended well in their ensembles.

Janelle Gelfand, USA Today

Di Giacomo floated a radiant soprano in the quartets and brought gleaming expression to her duet with tenor Griffey, “Fac, ut portem.”

Janelle Gelfand, USA Today