Handel's Partenope
Due to the sad death of Philippe Jaroussky's father he's had to cancel his appearance in Handel's Partenope. Lawrence will replace him to play the role of Arsace.
My condolences and thoughts are with Philippe and his family at this difficult time.
Lawrence Zazzo
More quotes
“l'autre contre-ténor de la soirée, le magnifique Lawrence Zazzo, moins virtuose mais d'un lyrisme et d'une émotion qui conviennent au plus introverti
des deux frères.” Le Figaro, July 2014
“Wem das alles zu ausgeflippt war, der kam beim konzertanten "Amadigi di Gaula" auf seine Kosten, wo der berühmteste unter den zahlreichen vor Ort vertretenen Countern, Lawrence Zazzo, zum hellen Entzücken des Publikums sich allenfalls selbst inszenierte.” Die Welt, June 2014
“Lawrence Zazzo überzeugt als Ruggiero mit beweglichem Countertenor und lässt vor allem seine große Arie "Sol da te, mio dolce amore", wenn er zur virtuosen Begleitung der Querflöte seine Gefühle für Alcina besingt, zu einem musikalischen Höhepunkt des Abends werden.” OMM, March 2014
"Lawrence Zazzo's Ottone, sung with beguiling tonal beauty, was a joy throughout."
Beaune Festival International D'Opera Baroque/Agrippina - Opera Magazine, November 2012
"questo magnifico cantante sa bene come far risultare sorprendentemente naturale e facile un'emissione sempre omogenea e dense di ombreggiature ambrate di colore bellisiimo. Il controllo del fiato é perfetto.."
Alessandro Mormile, L'opera, December 2010
"the evening only really comes into its own when counter-tenor Lawrence Zazzo's exquisitely sung shepherd Endimione and Monica Bacelli's elegant and irresistibly funny Diana begin their tortuously protracted foreplay. Zazzo's seductive aria atop Mount Lycaeus...is the evening's musical highlight"
Independent, September 2008
"Un César hors normes, un timbre aux reflets dorés, souple et intense"
Le Soir, January 2008
"Amare la sua voce è facile, ammirarla per la bellezza del timbro assolutamente malioso non basta"
L'opera, April 2008
“The semi-popular notion of countertenors is that they are somewhat floaty and thin-toned, more curious than vocally substantial. Zazzo put the lie to that conception in about three seconds. There was nothing reticent about how he projected sound throughout the sanctuary, nothing vague about the precision of his attacks and intonation, his exceptional dynamic control or the detail of his colouratura…All told, this was a performance to hold up, lusciously.” Louisville Courier-Journal, May 2006
“Lawrence Zazzo sings the Refugee[in Glyndebourne’s Flight]…with amazing technique: this is a ballsy, direct voice that brings strange emotions to his yearning music”
The Times of London, August 2005
“Lawrence Zazzo’s Ottone[in Poppea] was that rare thing, a free, easy, open, silky counter-tenor with a truly beautiful sound and a nicely understated performance as the moral centre of this equivocal piece.”
The Times of London, Oct 2004
“Sur lui, René Jacobs est intarissable: Sur scéne, il est le meilleur du monde dans ce répertoire.”
Le Figaroscope, Oct 2004
“Zazzo‘s bright, eloquent, virile and properly operatic counter-tenor now seems set to eclipse the rest of his generation” The Independent of London
“Lawrence Zazzo... shows himself a countertenor of gorgeous tone, superb control throughout the range, excellent musicianship and handsome bearing” New York Times
“the American counter-tenor Lawrence Zazzo sang Arsamene [in Serse] with panache, nobility, and terrific power” The Times of London, Dec 2004
“Maybe the best countertenor now on the stage” René Jacobs, interview in Gramophone, May 2003
“A la fin du second acte, la beauté du timbre, l’articulation idéale, le raffinement du contre-ténor Lawrence Zazzo, touchent au coeur” La Liberation
“...There is already a touch of James Bowman’s beguiling artistry in Zazzo’s rich but never forced delivery...and signs of a keen dramatic sense in his interpretation...” The Independent of London
“...a pure and matchlessly well-modulated voice” Svenska Dagbladet
“the wonderful countertenor, Lawrence Zazzo...is spellbinding in the final song” New York Times
“le contre-ténor Lawence Zazzo témoigne d’un bouleversant lyrisme” Le Figaro