Alicia Gianni

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Florencia en El Amazonas – Houston Grand Opera

“As Rosalba, a writer who has studied Florencia from afar — and, for most of the opera, doesn’t know that she’s onboard with her idol — soprano Alicia Gianni complemented the fullness of Martínez’s singing with her own, more silvery tones. When their voices vaulted in turn during ensembles, the phrases had a bit of echo-like kinship, yet each had an identity of its own. And when Rosalba met Arcadio, the ship captain’s nephew, Gianni sang with a conversational lightness that showed curiosity blossoming into affection.” Texas Classical Review – Steven Brown

“Soprano Alicia Gianni played Rosalba with an earnestness and warmth, with pearly clarity and sweetness in her voice that balanced Martinez’s…” Houstonia Magazine – Hannah Che

“The late Mexican composer is credited with helping usher rich Romantic-era timbres back into modern opera houses, and “Florencia” is as stirring when Rosalba (soprano and local jazz singer Alicia Gianni) and Arcadio (strapping tenor Joshua Guerrero) inevitably give in to their youthful passions as when Act One’s climatic storm arrives in a torrent of tympani and low brass.” The Houston Chronicle – Chris Gray

L’Elisir D’amore – Opera Birmingham

“Houston-based Gianni, whose talents cover jazz and blues singing as well as opera, brought her powerful instrument to bear on the role of Adina, the consciously capricious beauty. Alternating between bright and deliciously smooth, her voice glided in most instances with ease over the virtuosic bel canto lines and leaps. These two extremes of her timbre made the emotional turning point in her duet with the drunk Nemorino, as he professed indifference to her, all the more palpable.” ArtsBHAM- Edward Forstman

A Little Night Music – Houston Grand Opera

“Alicia Gianni fully inhabits the earthy, saucy serving girl Petra; she scores a knockout with her dynamic rendition of her provocative “The Miller’s Son,” speculating on varied marital prospects for her future while unabashedly celebrating the pursuit of “everything passing by” in the interim.” Houston Chronicle- Everett Evans

“Subsequently, with her thrilling rendition of “The Miller’s Son,” Alicia Gianni as Petra stole the highpoint of the second act from Futral. It’s a weird song celebrating lustiness, experience, and adventure, and Gianni finished her emphatic phrases with long, non-vibrato belting. She was absolutely thrilling in every respect.” Culture Map – Theodore Bale

“Gianni’s earthy maid Petra smolders with smutty delight…” Houston Press-D.L. Groover

Così fan tutte– Wolf Trap Opera

“Alicia Gianni, as the servant Despina…..certainly got into the spirit of things with panache. She also brought a strong, warm, colorful soprano to the assignment.”
The Baltimore Sun- Tim Smith

Die Zauberflöte– Houston Grand Opera

“Soprano Alicia Gianni was aurally a wonderful evil hag who turns into a lively Papagena.”
Houston Chronicle – Charles Ward

A Little Night Music (Christmas Recital)

“Last night, I had tears in my eyes when Alicia Gianni sang O Holy Night.”
Seattle Post Intelligencer -Sue Frause

Così fan tutte – Cincinnati Chamber Orchestra

“Vocally, it was a dream cast. Soprano Alicia Gianni displayed a remarkable voice in the taxing role of Fiordiligi, warm and strong at both ends of its over two-octave range, with a flexible coloratura…….the duet “Fra gli amplessi” (where Fiordiligi finally succumbs) was the single most beautiful moment in the opera.”
Cincinnati Post- Mary Ellen Hutton

“The six singers were well matched – vocally and in acting ability – which made Mozart’s superb ensembles a joy to hear. As Fiordiligi, Alicia Gianni was a standout. She delivered “Come scoglio” with convincing defiance. Her Act II aria “Per pieta” traversed a range of emotions with impressive coloratura.”
The Cincinnati Enquirer 

Studio Showcase – Florida Grand Opera
Janelle Gelfand

“Alicia Gianni provided the highlight with the final scene from Tchaikovsky’s Eugene Onegin…….Gianni’s pure soprano rendered the conflicted emotions of Onegin and Tatiana’s doomed love affecting and powerfully real in a beautifully sung reading. Gianni was equally impressive as half of another illicit couple with the scene between Nedda and Silvio in Leoncavallo’s Pagliacci. Gianni’s ease of production and natural acting made a worthy vocal and dramatic foil…..”
South Florida Sun-Sentinel – Lawrence A. Johnson

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