AndreaMastroni

Press

• Il Ritorno d’Ulisse in Patria (Monteverdi)

  Wiener Staatsoper

  Apr 2023

  • Andrea Mastroni stach als tief hinunterorgelnder Nettuno heraus [translated] 'Andrea Mastroni stood out as a scheming Neptune.'

    • Michael Wruss, Oberösterreichische Nachrichten
    • 03 April 2023

  • Andrea Mastroni verströmt Bassautorität als Neptun. [translated] Andrea Mastroni exudes bass authority as Neptune

    • Martin Gasser, Kleine Zeitung Steiermark
    • 03 April 2023

  • Stimmlich stark auch die Götter, allen voran Isabel Signorets wohltimbrierte Minerva und Andrea Mastronis abgründigtiefer Neptune [translated] Also vocally strong are the gods, above all Isabel Signoret's well-timbered Minerva and Andrea Mastroni's evil Neptune.

    • Miriam Damev, Falter: Woche
    • 03 April 2023

• Rigoletto (Verdi)

  The Metropolitan Opera, New York

  Dec 2021

  • Andrea Mastroni was an estimable Sparafucile, very expressive in acting. He left great vocal details, with a nocturnal, fleshy and seasoned instrument that the artist knew how to handle with pleasure.

    • Carlos Javier López Sánchez, Opera World
    • 15 January 2021

  • Andrea Mastroni was a charismatic Sparafucile. His first entrance during his exchange with Rigoletto,” Quel vecchio maledivami” wasn’t haunting nor was it dangerous. Instead, it was lyrical and youthful. Mastroni sang with legato lines that emphasized a mischievous Sparafucile. However, when he went into his lower voice, one sensed the dangerous potential especially in his final “Sparafucile,” which resonated with darkness. In the Act three trio, this Sparafucile wasn’t as domineering with his sister and you could sense a more balanced relationship. Mastroni’s singing was determined and filled with a booming sound. In many ways, you could hear the sound of his voice feel reminiscent of laughter.

    • Francisco Salazar, Operawire
    • 15 January 2021

• Aci Galatea e Polifemo [CD]

  Oct 2021

  • Mastroni’s portrayal adds to the impression as his voice possesses an engaging sincerity and nobility. His opening aria “Affanno tiranno” is an emotionally powerful statement which highlights Polifemo’s sensitive nature, and his awareness of the torment and pain love can bring. Perhaps the finest aria on the disk is “Fra l’ombre e gl’orrori” in which Polifemo bemoans his fate at losing Galatea in what is a fascinating rendition. Mastroni uses the full range of his voice to detail his pain, moving with ease from a low D, in which his dark toned voice rumbles among its subterranean depths, to an A in the treble clef, where his acute pain can almost be physically felt. Mastroni also wonderfully captures Polifemo’s humanity in his final recitative in which he laments his fate, realizing that even in killing Aci he has achieved nothing. His phrasing is clear, balanced, yet so full of pain. Such is the emotional strength of his singing, it is impossible not to sympathize with him.

    • Alan Neilson, OperaWire
    • 06 December 2021

  • Andrea Mastroni as Polifemo shines in the most virtuosic music Handel ever composed for a bass-baritone, a bonkers part whose range extends from low D to A in the treble clef.

    • BBC Music Magazine
    • 27 October 2021