Mario Malagnini News
Italian opera singer
- tenor
- Italy
- opera singer
Last update
2024-03-29
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2021-12-16 19:02:54
The Battle of Carnegie Hall
Trove Thursday sneaks in one more OONY offering before 2021 ends: Verdi’s rare La Battaglia di Legnano from 1987 with Aprile Millo, Mario Malagnini, and Matteo Manuguerra.
2015-12-11 14:00:06
Gli enigmi sono due
[…] everything you’d want in the role: a solid technical foundation, a full, native timbre with a good top, clean diction, and the theatrical confidence to stand in the three-quarter position so that she at least gives the appearance of being dramatically engaged. What she lacks in polish and pathos she makes up for in spirit, as when she bunny-hops across the stage during the riddle scene to sing “e per l’amore” directly to Calaf. Mario Malagnini as the Unknown Prince seems cut from the same rural cloth as his colleagues, boasting a strong, masculine spinto tenor, with a bit of a burr in the middle and firm breath control. Here and there the odd phrase comes out with an odd harmonic option and you’re not sure if it’s nerves or something learned wrong. He sings the “Operatic National Anthem” in the last act well enough and during the Riddle Scene […]
2015-12-11 08:48:54
Theodossiou, Marini; Malagnini, Gazale, Monici. Orchestra Filarmonica Marchigiana, Coro Lirico Marchigiano "Vincenzo Bellini," Lipton.
2013-06-22 23:12:01
One of three
[…] bottom. The top can retain a soft, rounded quality or become more dramatic and cutting when necessary. She is the only performer here who seems to understand and convey the scale of the drama through both her committed, sympathetic acting and noble, sensitive singing. And as icing on the cake, she ends the opera with a secure, blazing high B. The rest of the singers are not at this level, but are solid enough. Mario Malagnini as Don Carlo has a substantial, distinctly Italian tenor sound that is quite beautiful and secure, but he has little chemistry with any of the other performers. His acting is generalized and disconnected from his singing, and he glances at the conductor a bit too often. The Rodrigo, Simone PIazzola, has a solid if faceless voice that is equal to the part, but it is delivered in a plain and obvious way that is […]
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