Rave Reviews for Carmen in Warsaw
"Leonardo Capalbo’s characterization of the simple soldier whose moral decay leads to murder was a fascinating study in first-rate stage acting. Looking every inch a country lad cruelly victimized by an amoral, selfish seductress, Capalbo’s palpable emotional collapse was engrossing. The American tenor is not just highly gifted dramatically, but has surprisingly strong projection also capable of capturing the lightest nuances of the score. The à capella fortissimo high G on “Dragons d’Alcala!” was flawlessly pitched and “non, jamais femme avant toi” sung with a fine legato and poetic phrasing. “La fleur que tu m’avais jetée” was a terrific tour de force with a timbre and squillo reminiscent of Mario de Monaco. Capalbo paid scrupulous attention to the dynamic markings and the pianissimo change on “Puis je m’accusais de blasphème” and splendidly graduated diminuendo scale to top B flat on “j’étais une chose à toi!” was very fine singing indeed. The final confrontation with Carmen showed the height of Capalbo’s acting and vocal prowess. “Tu ne m’aimes donc plus?” was unbearably fraught and “souviens-toi du passé” touching in its hopeless desperation."
-Jonathan Sutherland, Operawire, June 13, 2018
"The finale of the opera brought a moment of a truly moving musical theater, when against the background of the black curtain there was a meeting between Carmen and Don José which ended, as is known, tragically. This was achieved by the American tenor Leonardo Capalbo, who was advancing towards this throughout the entire evening, as if to show this most important moment, not only in voice, but also in the cultivation of his interpretation and acting skills."
- Jacek Marczyński, Rzeczpospolita, June 10, 2018
"Most convincing is the moment when Don José (Leonardo Capalbo) professes his love to Carmen (aria La fleur que tu m'avais jetée). Then you can see how they do not fit together: he is a sentimental dreamer, she is a seducer who perfectly controls her emotions."
- Anna S. Dębowska, Gazeta Wyborcza, June 8, 2018
"Don José in a sensational performance by Leonardo Capalbo, remembered on our stage as the Electrician in the Adès opera "Powder Her Face", plays a man who self-destructs before our eyes. He gives his heart to a woman who is unworthy. In the final duo, we saw how complicated the character was in his interpretation of Don José, who undergoes a transformation from a simple soldier to a murderer of a woman who fought against his jealousy."