Giulio Cesare - Opera Frankfurt March-May 2024
‘Lawrence Zazzo gave a Giulio Cesare beyond the heroic . . . [he] allowed his countertenor voice to sound wonderfully smooth and enthralled the audience with stupendous coloratura and a moving presence.’
Kaspar Sannemen, Der Opernfreund, 28 March 2024
[‘Lawrence Zazzo gab einen Giulio Cesare jenseits alles Heroischen. . . Zazzo ließ seinen Countertenor wunderbar weichfließend erklingen, begeisterte mit stupenden Koloraturen und berührender Gestaltung.’ ]
‘Lawrence Zazzo is this coloratura-bursting Cesare, who is at his highest form as the consumed lover. Zazzo's refined approach works particularly well in the quiet longing arias. In subsequent performances, Zazzo impressed even more with his fast-paced, fiery bravura arias, especially in the aria with the warm-sounding natural solo horn “Va tacito e nascosto”, where Cesare celebrates the warlike, determined hunter. A joy!’
Barbara Röder, Feuilletonscout, 18 April 2024
[‘Lawrence Zazzo ist dieser Koloratur strotzende Cesare, der zur Höchstform eines sich verzehrenden Liebenden aufläuft. Zazzos feines Gestalten gelingt besonders gut in den ruhigen Sehnsuchtsarien. In den Folgeaufführungen besticht Zazzo noch eindringlicher in seinen rasant feurigen Bravourarien. Besonders in der Arie mit dem warm tönenden Natur-Solohorn „Va tacito e nascosto“, wo Cesare den kriegerisch, überlegten Jäger zelebriert. Eine Freude!’]
(photo by Monika Rittershaus)
Lawrence’s new album, Weeping Philosophers,
Released March 2024 on Pan Classics, featuring Soraya Mafi, Jorge Jimenez and Spanish Ensemble Tercia Realidad
Click here to see promo video
Click here to order from Amazon
Click here to hear Barbara Strozzi’s L’Eraclito amoroso
Click here to see the filming Canon à 3: Héraclite, Démocrite, Diogène
‘outstanding . . . touching. . . perfect control of his voice’
pizzicato.lu
The Fairy Queen - at St. Andrews Church, Newcastle
’Really proud of these young performers, who gave a moving, funny, and risk-taking final performance of Purcell's Fairy Queen last night in Newcastle after a long semester of hard work. Congratulations to the whole team -- on, behind, in front and to the side of our stage, and many thanks to St Andrews, Newcastle University, the Newcastle Youth Choir Project and our wonderful local audience for supporting us.’
New CD Weeping Philosophers
It's a wrap! My new CD Weeping Philosophers with the wonderful Soraya Mafi and Spanish ensemble Tercia Realidad for Pan Classics - Note 1 Music.
Thanks to an incredible team Jorge Jimenez violin and conductor
PabloPrieto, violín
Dani Lorenzo, viola
Maria Saturno, viola da Gamba
Silvia Marquezch, cembalo
Jorge Muñoz, double bass
Laguna Nacho, theorbo and
production team Vnmusic and Víctor Sordo Vicente + Sonia Gancedo.
But above all thanks to Pepe Mompean & @comunidadmadrid for saving our recording last minute when construction works threatened, inviting us to weep and laugh together in the stunning 18th century Real Coliseo de Carlos III.
Surprise visit from la sua majestade Carlos III himself during our recording
Tamerlano - Frankfurt at the Bockenheimer Depot
Following the success of the inaugural presentation of Handel’s Tamerlano at the Bockenheimer Depot, Oper Frankfurt reprises the production once again with Lawrence Zazzo singing the title role. Performances open on 1 December directed by R.B. Schlather and conducted by Karsten Januschke. An exquisite and established interpreter of Handel’s repertory, critics wrote of Lawrence’s Tamerlano:
“Countertenor Lawrence Zazzo fully throws himself into the eccentric role and brilliantly brings out the wild, ludicrous nature of the character.”
Frankfurter Allgemeine Zeitung
Orfeo ed Euridice - Tokyo
‘Musically, it was a tour-de-force performance by Zazzo, who dominated the stage for most of the opera. He lived through the emotional rollercoaster from mourning to momentary hope, to despair and happiness again, with power and a range of colour…’
bachtrack.com, 23. May 2022
Click here to view the trailer
The whole production of Gluck's Orfeo ed Euridice, premiered on 21 May 2022, is now being streamed on OperaVision and NNTT Stream from 7 October, 19:00 CET / 8 October, 2:00 JST
The stream will be available to watch 6 months with English, Italian, French, German and Japanese subtitles.
Click here to view the whole performance on YouTube
Dido and Aeneas - The Lit and Phil, Newcastle (March 2022)
‘I’m very proud of the Music students at Newcastle University for their committed and touching performance of Purcell's Dido and Aeneas last weekend at the Literature and Philosophical Society Library’
Musical Direction and Staging Dr. Lawrence Zazzo, Orchestra Leader Holly Harman, Baroque choreography Dionysios Kyropoulos, Sets and Costumes Eva Masterman and Grace Bentley.’
A Midsummer Night’s Dream - Scottish Opera
'Lawrence Zazzo is spine-tingling as Oberon, his countertenor sounding virile rather than disembodied' The Times, 25 February, 2022.
'American Lawrence Zazzo is an internationally experienced Oberon, his pure countertenor confidently carrying ethereal shudder' The Stage, 24 February, 2022
'Experience, however, shone through especially tellingly in Lawrence Zazzo's Oberon, a king of the fairies who was gloriously lyrical in his singing, but also a completely believable character of make-believe.' The List, 25 February, 2022.
Messiah in Jones Hall with the Houston Symphony
Thank you all the wonderful artists in the Houston Symphony and Chorus for an exciting and big-hearted week.
“…Zazzo’s otherworldly register brought out both the unbridled joy of “Behold a virgin shall conceive” and despair of “He was despised and rejected.”
Chris Gray, houstonchronicle.com, 13 December 2021
Handel Uncaged: Cantatas for Alto in Rittersaal, Euregio Festival, Schloss Iburg
..Mit ausdrucksstarker, selbst in den höchsten Lagen runder Stimme und fesselnder Präsenz wandelte Lawrence Zazzo zwischen süßem Schmerz und dramatischer Leidenschaft durch die Gefielde unglücklicher Liebe...
‘…A world star delighted in the Rittersaal ['Knight's Hall'] of the castle: countertenor Lawrence Zazzo enchanted music lovers with an extraordinary voice and an equally extraordinary programme…With an expressive, round voice, even in the highest registers, and a captivating presence Lawrence Zazzo walked between sweet pain and dramatic passion through the pleasingly unhappy love 'With his project 'Handel Uncaged', Zazzo not only rescued a remarkable work. At the same time, he offered an extremely sonorous plea for an entire genre, because cantatas are rarely on a concert program - wrongly, as the long-lasting applause proved.'
Petra Ropers, NOZ, 15 November 2021
Click here to order Handel Uncaged from Amazon
Click here to see promo video for Handel Uncaged
Giustino in Osterode (Göttingen)
"der glasklare Countertenor … Lawrence Zazzo schlüpft so voll und ganz in seine Rolle, dass man als Zuschauer das Gefühl hat, nichts würde ihn an seinem Stehpult halten, am liebsten würde er auf die Bühne springen und seinen Giustino selbst verkörpern."
„The crystal-clear countertenor .. . Lawrence Zazzo slips into his role so completely that as a spectator you have the feeling that nothing would keep him at his music stand and that he would prefer instead to jump onto the stage and embody his Giustino himself. "
Ute Lawrenz, HNA, 13 September 2021
Il trionfo del tempo e del disiganno at the Salzburg Whitesun Festival
“Feeling excited and fortunate to be in front of a live orchestra and live audience for the first time in over a year for tonight's premiere. I'm very grateful to the Salzburger Festspiele and the Austrian government for valuing music drama enough in these times to expend the extra resources and effort necessary to enable conditions (for the second season now!) that are completely safe for both performers and audiences. To all my wonderful colleagues, in bocca al'lupo, e della verita!”
‘The slow and haunting numbers are particularly convincing, especially from the mouth of the countertenor Lawrence Zazzo as "Disinganno": here a philosopher sings of his doubts and questions about life with a full warmth and lightness and longing, without any pedagogical pretentiousness.'
…Besonders die langsamen und eindringlichen Nummern überzeugen, vor allem aus dem Mund des Countertenors Lawrence Zazzo als "Disinganno": Da singt ein Philosoph seine Zweifel und Lebensfragen voller Wärme und Leichtigkeit und Sehnsucht, aber ohne alle pädagogische Präpotenz…
Rainhard Brembeck, Suddeutsche Zeitung, 22 May 2021
…der Countertenor Lawrence Zazzo berührt besonders in der "Schlummer-Arie" der Erkenntnis mit bezaubernden Lyrismen…
'The Countertenor Lawrence Zazzo especially moves in the 'Sleep-Aria' of Disinganno with enchanting Lyricism.'
Friedemann Leipold, ww.br-klassik.de, 22 May 2021.
…Für den ersten Höhepunkt des Abends hatte zuvor Countertenor Lawrence Zazzo gesorgt. Seine tief empfundene, berührende Interpretation von „Crede l‘uom ch‘egli riposi“ erntete spontanen und hochverdienten Szenenapplaus…
'Countertenor Lawrence Zazzo had previously provided the first highlight of the evening. His deeply felt, touching interpretation of “Crede l‘uom ch‘egli riposi” earned spontaneous and well-deserved applause for the scene.'
Thomas Manhart, Krone Zeitung, 22 May 2021
…Wunderbare Arien insbesondere von Countertenor Lawrence Zazzo, der bei seinem ersten Festspielauftritt zur Erkenntnis tatsächlich zu verführen weiß…
Wonderful arias, especially by countertenor Lawrence Zazzo, who in his first festival appearance really knows how to seduce you to enlightenment.'
Oberösterreichisches Volksblatt, 22 May 2021 PLUS24
... Zaubermomente gelingen dem Countertenor Lawrence Zazzo, indem er Phrasen lustvoll ausziseliert, Verzierungen und Vokalfarben fast schon liebkost, sodass sich die intellektuellen Freuden des Disinganno als sinnlich erfahrbar erweisen...
‘The countertenor Lawrence Zazzo succeeds in creating magical moments by carving out phrases with relish, almost caressing decorations and vowel colours, so that the intellectual joys of Disinganno can be experienced with the senses’
Michael Stallknecht, Süddeutsche Zeitung, 5 August 2021
Il Penseroso by Geoff Page
Delighted to premiere this song, Il Penseroso, as part of Early Music@Newcastle. Written for my f...th birthday by my dear friend Geoff Page, the text was chosen partly because of our shared love of Milton, and partly as something of a homage to Handel, who set the same text in 1740. I suppose it's an odd choice at the moment to live with thee, Melancholy, but Milton and Geoff make it an easy one. Thanks to St. Paul's church, Cambridge, for allowing us to record under their embowered roof.
Click here to see video
Proud Songsters - new CD of English Solo Song
Lovely to share these beautiful songs by Jonathan Dove, accompanied by Simon Lepper, on the Choir of King's College, Cambridge new CD release of solo English song, Proud Songsters--Jonathan's music always a balm to my soul, but especially in these difficult times.
Click here to see video
Handel's Giulio Cesare in Egitto on April 2017
Boston Baroque is streaming their 2017 production of Giulio Cesare, starring Lawrence Zazzo, Susanna Philipps, and John Holiday, for free in November as part of their Virtual 20-21 season
Click here to see the whole performance
Paradise Lost at The Cockpit, London (Tete-a-Tete Festival)
Tête à Tête 2020, 12 September 2020
“What made this Tête-à-Tête Opera production so stimulating was Zazzo’s performance as Lucifer, the fallen angel, tempter of Eve, destroyer of man’s innocence. Weaving through gentle lyricism (there are a few Finzi-esque pastoralisms, shot through with the odd touch of modernism), strident anger, and spoken declamation, this was a performance which embraced an astonishing emotional gamut and did so with courage, commitment and impressive technical underpinning. Purity, power, presence: Zazzo evinced all three. What a show with which to return to the performing platform after months of lockdown and the silencing of one’s singing voice.”
Opera Today
“Geoff Page's Paradise Lost uses text taken from Milton's epic to narrate the Fall from Lucifer's point of view. It is part one-man opera, part-song cycle and a series of solos for Lawrence Zazzo, accompanied by Page on the piano, were intercut with short pre-recorded spoken sections. The staging was minimal, and relied very much on Zazzo's considerable dramatic abilities; he is a very vivid performer and thoroughly incarnated Lucifer, the fallen angel whom Milton depicts as beautiful as well as fallen, and of course highly seductive.“
Planethugill.com
“Zazzo, acclaimed as the “Maserati” of countertenors, holds the attention effortlessly for 60 minutes, and fans of the countertenor’s voice will appreciate his range. His mastery of the upper register notes are just as compelling as the lower. For a role such as Lucifer to be convincing, the artist really does need to be able to evoke celestial sweetness as well as the deeper, more sinister notes of a fallen angel.”
thespyinthestalls.com
Handel’s Samson
A live CD recording on Ricercard of Handel’s Samson at
Festival de Namur on 4 July 2018
“So happy this special experience of Handel's Samson with Leonardo Garcia Alarcon and the Choeur de chambre de Namur could be released on CD”
George Frideric HANDEL Samson HWV 57
Oratorio en 3 actes
Samson Matthew Newlin
Dalila Catherine Watson
Micah Lawrence Zazzo
Manoa/Harapha Luigi di Donato
Chœur de Chambre de Namur
Rodelinda at Dutch National Opera Amsterdam
So great to return to Claus Guth's thrilling production tonight at the Dutch National Opera, with Concerto Koeln and Riccardo Minasi on fine form. In bocca al'lupo a tutti!
’…Equally lucid and entertaining were countertenor Lawrence Zazzo as the loyal Unulfo...Spreading caring optimism, Zazzo effortlessly combined vocal suppleness with comic timing…’
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Gender Stories in Villingen-Schwenningen
Last concert of our Baroque Gender Stories tour with Lautten Compagney and la divina Vivica here in Villingen in the Schwarzwald... just a few dozen cadenzas or so before the Gluehwein beckons!
‘Die Zeiten wandelten sich und zur Verfügung stehen heute Countertenöre mit ihrem durchtrainierten Altus. Wer ihn mit soviel Engagement und herrlich-lebendiger stimmlicher Ausstrahlung bei über zwei Oktaven einsetzt wie Lawrence Zazzo, der weckt nicht nur Bewunderung, sondern führt zu beglückenden Hörmomenten.’
‘Times have changed and technically-trained countertenors are now readily available. Those voices who display, like Lawrence Zazzo’s, such committed engagement and wonderfully alive vocal charisma over more than two octaves, arouse not only admiration but also delightful moments for the listener.’
Schwarzwälder Bote
‘Die stimmliche Virtuosität von Zazzo ist von enormer Wandlungsfähigkeit.
Sein Spektrum reicht von ruhgier Ausgeglichenheit bis zum energiegeladenen Furor. Das Puplikum im Franziskaner Konzerthaus ist begeistert.’
‘Zazzo’s vocal virtuosity is enormously versatile. His spectrum ranges from calm balance to energetically-charged fury. The audience in the Franziskaner Konzerthaus was thrilled.’
Südkurier
Tamerlano at Opera Frankfurt
‘[Tamerlano] ist der Boss, zu Macht und Reichtum aufgestiegen, gibt sich jovial und mischt sich unter die Zuschauer. Nur die so reich verzierte Musik, die Lawrence Zazzo als Tamerlano bravourös virtuos aussingt und alle Facetten zwischen Hass und Ironie auch mit jeder Faser seiner Muskeln ausleuchtet, kündet schon im ersten Akt von seinem Charakter, den er offen auslebt, wenn er sich im zweiten Akt die Maske vom Gesicht reißt und, grell geschminkt, den Blick eines Wahnsinnigen auf das Publikum richtet…
…[Tamerlano] is the boss, has risen to power and wealth, is jovial and mixes with the audience. Yet behind his mask fumes the sadist. This character is only announced in the first act through richly-ornamented music through which Lawrence Zazzo's bravura virtuoso audibly illuminates all facets between hatred and irony with every fibre of his muscles; all is fully-revealed in the second act when he tears the mask from the face and, with garish makeup, directs the gaze of a madman at the audience.'
www.magazin.klassik.com
…Lawrence Zazzo, ein unglaublich charmanter Tyrann, dem man zunächst weder die Peitsche („Ich will die Wut bändigen, eine mit unmenschlich schwieriger Koloratur gespickte Arie im ersten Akt), noch seine humorvoll vorgetragenen Drohgebärden abnimmt. Seine Rolle steigert sich wie in einem Wettkampf bis zur gnadenlosen Demütigung seiner Gefangenen. Sein Humor, seine Unterhaltung, sein Amüsement verwandeln sich zur Clownsfratze und werden zum Schreckgesicht eines Machtbesessenen…
…Lawrence Zazzo, an unbelievably charming tyrant, whose whip ("I want to tame the rage”, an aria peppered with inhumanly difficult coloratura in the first act) and humorously performed threatening gestures never disappear. Instead, his role increases like in a competition through the merciless humiliation of his prisoners. His humour, his entertainment, his amusement turn into a clown's face and become the frightful face of the power-possessed…
www.hboscaiolo.blogspot.com
Handel Uncaged
Delighted to announce the official release of my new recording, Handel Uncaged, on Inventa Records. A two-year labor of love, it includes world-premiere recording of two unpublished Handel alto cantatas, alongside the stellar continuo team of Guillermo Brachetta, Jonathan Manson and Andrew Maginley.
“George Frideric Handel’s early Italian cantatas were a laboratory for his vocal writing, daring experiments in melody and harmony upon which Handel drew for the rest of his composing life.
In Handel Uncaged, the internationally renowned countertenor Lawrence Zazzo has ‘uncaged’ a selection of these cantatas for the alto voice, presenting them in new ways, crowned by the world premiere recording of unpublished music from Handel’s astonishing and amusing 10-aria cantata cycle, Amore Uccellatore.
Zazzo is joined by a stellar continuo team of Jonathan Manson (cello and viola da gamba), Andrew Maginley (theorbo & guitar) and Guillermo Brachetta (harpsichord)The small-scale genre of the Baroque continuo cantata unfortunately often takes a backseat to to the more popular opera. There is also a place for songs. But cantatas? They are rarely heard. This wonderful chamber music genre hardly attracts audiences who want to hear lush sounds from large orchestras. These smaller formations of the art form cantata could be described as the composers' laboratory.” Resonus Classics
A Midsummer Night’s Dream at the Vienna State Opera
“…Der amerikanische Countertenor Lawrence Zazzo ist bei seinem Staatsoperndebüt als Oberon der sängerische Schwerpunkt der Produktion, säuselnd und giftig, höchst textverständlich und mit eindringlichen Farben…”
“…The American countertenor Lawrence Zazzo, making his Staatsoper debut as Oberon, was the vocal highlight of the production, whispering and poisonous, highly intelligible and with haunting colors…” Wiener Zeitung
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Click to read a interview with Lawrence Zazzo
Serse in Beaune at Cour des Hospices
on 19 July
“Lawrence Zazzo, que l’on retrouve avec bonheur. Le chant est généreux et flexible et nous vaut un amant sincère, rêveur, colérique parfois, toujours sensible…”
“Lawrence Zazzo is a happy rediscovery. His singing is generous and flexible and rewards us with a sincere, dreamy, at times, choleric, but always sensitive lover…” forumopera.com
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Recital “Airs d’opéras” at Salle des Pôvres des Hospices
in Beaune on 7 July
After Leonardo Garcia-Alarcon's inspirational and incandescent Saul last night, looking forward to tonight's solo recital of music from A Royal Trio in the Salle des Pauvres--Ariosti, Bononcini, and of course, Handel, with David Bates and some fabulous soloists from his La Nuova Musica.
…Lawrence Zazzo est à son affaire, de sa voix de contre-ténor dans cette tessiture qui devait être celle de castrats, avec une colorature fermement maîtrisée, l’éclat quand il faut, les passages de violence piquée et de tendresse legato. S’ajoute une expression proprement d’acteur dramatique, tout à fait en situation pour ces extraits d’opéras. Cette découverte, pour nos deux Italiens de Londres, s’inscrit alors de la plus éloquente façon…
…Lawrence Zazzo is in his element, his counter-tenor voice in the castrato range, with coloratura firmly-mastered and brilliant when necessary, the passages of violence stinging and those of tenderness legato. He adds to this the expressivity of a dramatic actor, appropriate for opera excerpts. A discovery of two Italians [Ariosti and Bononcini] in London, put together in the most eloquent manner. '“ concertclassic.com
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Saul in Namur (4 July) and Beaune (6 July)
At Eglise Saint-Loup in Namur
…Le David de Lawrence Zazzo jouit des habituelles qualités de son interprête : un souci presque chambriste de la construction de la phrase, agrémenté d'éclats d'un lyrisme étourdissant…
…The David of Lawrence Zazzo enjoys the usual qualities of its interpreter: an almost chamber-like concern for the construction of a phrase, embellished by a dazzling lyricism…
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Workshop with the Stiftschor in Kloster Stams (Austria)
'As usual, I learned more than I taught working with the Stiftschor Stams over a June weekend on some English choral classics and Haydn' s Creation in the beautiful setting of Stams in advance of their concerts in July and October
-toi toi toi! '
Gender Stories at Handel Festival Halle
on 1 June
Great to be back in Handel's birthplace and twist perspectives on this repertoire in front of such a responsive, supportive audience.
... Zazzo was equally infectious, looking a little like Handel himself, in a red velvet jacket and cool red shoes. His voice features an unforced golden tone as well as effortless coloratura…
Giulio Cesare at Semperoper Dresden
‘From the outset, [Zazzo] gives us a dazzling "Presti omai", unpredictably eventful and rich in dynamic contrast. The same febrile inventiveness electrifyingly animates the Da Capo of "Va tacito e nascosto" and the vocalizations of "Al lampo dell'armi", taken at an extremely fast tempo with a conquering rage. Zazzo takes to heart the role of hammy latin lover ("Se in fiorito", "Bello / Bella"), but he also gives us "Aure, deh, per pietà" in a version at the same time more carnal and more poetic than we have ever heard, a visceral interpretation with a simultaneously overwhelming delicacy. Such a lesson of bel canto is priceless and deserves nothing less than the almost perfect setting of the Staatskapelle, under the refined and refined impulse of Alessandro De Marchi.’
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A fairy come to see Oberon as Cesare
At tonight's Cesare premiere in Dresden, I had a little extra fairy dust--a visit from Konrad, who sang Midsummer with me two years ago in Hamburg and drove five hours with his Mom to see me sing. Thanks Konrad!
Lawrence Zazzo in Concert in Cape Town
on 17 February
I had an amazing time in Capetown singing with two wonderful young South African sopranos, Lynelle Kenned and Brittany Murphy, and working with young singers from the opera program at the University of Capetown. Thanks for Capetown Opera and the KT Wong Foundation for making this possible!
…To this he added a particularly impressive interpretation of the famous ‘Mad Scene’ from Handel’s Orlando – Zazzo bursting on to the stage in a manner worthy of Shakespeare in Henry V – ‘lending the eye a terrible aspect’ letting it ‘pry through the portage of the head.’ This was Baroque opera at its very best and the enthusiastic audience knew that…
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Xerxes at Oper Frankfurt
Wonderful to return to pheasant fondling, fuchsia footwear, and food fights in Tillman Koehler's production of Xerxes in Frankfurt, with Constantinos Carydis leading the house orchestra on period instruments and a largely new cast including the wonderful Zanda Svede in her role debut as Xerxes, and Louise Alder and Liz Sutphen switching roles as Romilda and Atalanta just to keep us all on our toes!
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Rodelinda at Opera Lyon
“Bertarido est incarné par le contre-ténor Lawrence Zazzo. Dès son premier air, sa présence expressive et nuancée envoûte le public. Par son dialogue avec les flûtes à bec lors du « Con rauco mormorio » (Avec un murmure voilé – Acte II, scène 5), il montre toute la finesse de son chant. Dans l’intense « Vivi, tiranno » (Acte III, scène 8), le da capo (reprise) lui offre l’occasion de démontrer toute sa bravoure vocale.”
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“L’incandescente Sabina Puertolas ( Rodelinda ) et le contre-ténor Lawrence Zazzo placent la barre très haut, notamment dans un duo à faire pleurer les pierres.”
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”Lawrence Zazzo évolue sans difficulté entre bravoure et finesse vocale. La puissance de sa voix exprime une acuité musicale incontestable grâce notamment à de sublimes sons filés et un éclat expressif des nuances. Le contre-ténor marque de sa patte les brillants moments dans la soirée : le duo « Io t’abbraccio » mené face à Sabina Puértolas, comme son air Con rauco mormorio où se mêlent les flûtes à bec et son intense Vivi, tiranno au troisième acte.”
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“Le contre-ténor anglais Lawrence Zazzo, qui avait interprété Unolfo à Madrid, est ici Bertarido, à qui il prête une voix puissante et subtile.”
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“…mit berückender sahniger Weichheit, in seiner Schlussarie aber auch mit dramatisch durchpulsten Koloraturen adelt Lawrence Zazzo den Bertarido…”
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Solomon at Royal Opera House on 12 October
Delighted to be performing Handel's Solomon in the sumptuous Royal Opera House, where Handel first premiered it, and looking uncannily as it was in 1749!
“Then there is Lawrence Zazzo. Nothing quite prepares you for the sound of a countertenor - a man singing in the range of a mezzo-soprano or soprano. While you get the top end, there's also a depth, a richness to the voice that gives it an otherworldly quality - surely men from Mars would sing like this! It's perfect for the role of Solomon whose wisdom marks him as above his people, but whose personal sense of regality rests on their support.”
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“Il controtenore americano Lawrence Zazzo ha realizzato un Solomon di grande presenza carismatica e vocale, molto attento ai dettagli espressivi tanto nelle arie quanto nei recitativi.”
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“Lawrence Zazzo as Solomon revealed a clear and rounded countertenor that was blessed with exceptional purity at the top of its register…”
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Cesti-Competition 19 - 24 August Festwochen der Alten Musik
in Innsbruck
Congratulations to the winners, and thanks to all the singers for a great week of classy singing!
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Davidis pugna et Victoria - Festwochen Innsbruck
on 18 August
David and Goliath (Arianna Venditelli and Luigi di Donato) in a rare moment of amity during our performance of Scarlatti’s gorgeous oratorio here in Innsbruck on Saturday, with fantastic playing by Accademia Montis Regalis —
a lovely change of pace for me to sing Scarlatti’s more philosophical and melodic portrayal of Saul.
Countertenor Lawrence Zazzo sang in smooth, oily tones as Saul. He also took the part of Alter (Another), delivering a melting aria, "Deque lauru, deque rosa."
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Le roi Saul est magnifiquement interprété par Lawrence Zazzo qui sait en souligner le caractère indécis et apeuré; cet excellent contre-ténor module avec une technique assurée les craintes et les incertitudes d'un roi qui pense perdre la bataille qui s'annonce.
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Als Saul konnte der amerikanische Countertenor Lawrence Zazzo, der bereits im Jahr 2000 bei den Innsbrucker Festwochen der Alten Musik debütierte, seine stimmlichen Qualitäten aufs Neue unter Beweis stellen.
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Festival Oeiras 1700 at Palacio Do Marquês De Pombal
on 21 July
All-Handel programme with fabulous musicians Julian Perkins, Vladimir Waltham, and Jorge Jimenez in the stunning Baroque chapel of the Marques de Pombal in Oeiras, Portugal
Samson on 4 July in Saint-Loup Church, Namur
Glorious rendition of Handel’s Samson by Leonardo Garcia Alarcón, the Millenium Orchestra and Namur Chamber Choir
"...et le surprenant Micah du contr-ténor Lawrence Zazzo, tout en intériorité expressive dans cette tessitura particulière..."
L'avenir-Namur, 7 July 2018
CLICK HERE to view "His mighty griefs"
CLICK HERE to view "Ye sons of Israel"
Acis and Galatea
I'm delighted and not a little proud of my students after two performances of Acis and Galatea at the Tyne Theatre and Opera House Newcastle, and Seaton Delaval Hall in Northumbria in May and June 2018. The Tyne Theatre in Newcastle is the only remaining theatre in the UK with still-functioning Victoria era stage machinery, and Seaton Delaval Hall proved a magnificent setting, especially as it, like Acis, is celebrating its 300th birthday this year, and was designed by Sir John Vanbrugh, who also designed Handel's own Queen's (later King's) Theatre in London. It was thrilling (and ever so exhausting!) to rehearse, fully-stage and conduct a performance of Handel's masterpiece (in a later bilingual version) with second and third year Music undergraduates, as part of a module I teach there, called Performing Baroque Opera. Costumes, designed by Grace Bentley of Birmingham City's School of Fashion, were historically-informed. The set, designed by Dr. Irene Brown from Newcastle's Fine Arts faculty, was modern but used filmed projections from Northumbrian 'pastoral' locales. Our pit musicians included two novice harpsichordists learning to realise recitative, and a classical guitarist adapting archlute strumming and accompanying styles. Many of the singers had little or no experience with Baroque music or being onstage, and one of the highlights was a performance of 'Un sospiretto' (taken from Il pastor fido) played and sung by performers from our Folk degree, in folk style, with mandolin accompaniment-the connections between Handel and Neapolitan folk song were never so evident! We're already planning for 2019-2020: Dido and Aeneas, anyone?
Acis and Galatea
Handel’s stunning pastoral opera, Acis and Galatea, fully-staged in a historically-informed Baroque style by students from Newcastle University under the direction of international countertenor Lawrence Zazzo.
Paradise Lost
Lawrence Zazzo looks forward to the Newcastle premiere of a monodrama based on Milton's Paradise Lost, written by Cambridge-based composer Geoff Page.
CLICK HERE for a short promo
Handel’s Orlando at St John’s Smith Square, London
In Orlando’s ‘Cielo! Se tu il consenti’ Lawrence Zazzo shaped his superb countertenor with the front of his mouth as much as his throat, meaning that the resulting precision in his output was outstanding. Through excellent singing and acting, he also effectively revealed the different facets to the character’s madness so that in ‘Ah Stigie larve!’ his agitated anger contrasted with moments when he revealed a sense of blithe delusion.
www.musicomh.com
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Zazzo gave the title role his all. Through gestures, facial expressions and vocal fire, I believed every twist of Orlando’s fate. He was convincing when mad, when fighting, even when sleeping on his feet.
www.thetimes.co.uk
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Lawrence Zazzo was a wonderfully engaged Orlando, creating a vivid character sketch in each aria which was far more than a mere concert performance…the highlight of course is the mad scene at the end of Act Two…evoked by Zazzo with technical bravura.
www.planethugill.com
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Lawrence Zazzo’s virtuoso mad scene with its real emotional heft, transforming the opera’s serious core...
www.theartsdesk.com
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Messiah in Cambridge
Performance of Handel’s Messiah with the Choir of Clare College and the Orchestra of the Age of Enlightenment at the St John’s College Chapel in Cambridge on 2 December 2017
Graham Ross conductor
The Choir of Clare College, Cambridge
Elin Manahan Thomas soprano
Laurence Zazzo countertenor
Andrew Tortise tenor
Jonathan Brown bass
Vivaldi’s sacred music in Bern
So excited to perform this programme of Vivaldi’s sacred music and concerti with the stunning violinist Amandine Beyer and Camerata Bern on 6 and 7 December 2017.
...Dann aber ereignete sich gleichsam ein Erweckungserlebnis: Im «Salve Regina» RV 616, genauer in dessen «Ad te suspiramus», wurde Zazzos Stimme unvermittelt ungleich klarer und gleichmäßiger, wodurch der Satz zu einem intimen Wunder gelang...
Der Bund
Récital Lawrence Zazzo – Lyon and Vichy
... La voix est demeurée la grande triomphatrice de la soirée. Dans « Cosi stanco pellegrino » l’air de Crispo de Bononcini, Zazzo se distingue par l’élégance assumée de l’expression et la sensibilité de la ligne mélodique dont il ne force à aucun moment la conduite naturelle...
...Zazzo fait plus qu’en respecter l’enivrante structure harmonique et rythmique : il lui confère une gravité faite de légèreté, une tension toute en retenue...
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Die Tode des Orpheus world premiere in Saarbrücken
Very excited and honoured to perform the world premiere of Rolf Riehm’s “The Deaths of Orpheus” with Jonathan Stockhammer and the Deutsches Radio Philharmonie.
…Zazzo nutzt sein ganzes Register, „springt“ vom Countertenor in den Bariton und umgekehrt. Halsbrecherische Koloraturen, die Biegsamkeit, ja, das akrobatische Spiel mit der Stimme beeindrucken..
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Giulio Cesare Tour to Essen, Paris, Vienna and San Sebastián
Theater und Philharmonie Essen, our first stop on a Giulio Cesare tour with Ottavio Dantone, Accademia Bizantina, and a super cast who always manage to teach this salty old dog some new tricks. Next stops were the always delightful audiences at the Théâtre des Champs-Élysées in Paris and Theater an der Wien, finishing up in the beautiful San Sebastián’s Kursaal. As always, Maestro Dantone brought fresh ideas to a piece I thought I knew pretty well—bravi tutti, especially Emoke Baráth in her role debut as Cleopatra and Lionel Renoux, natural horn player extraordinaire, with whom I had enormous fun playing around with "Va tacito"!
…Lawrence Zazzo war dabei die Lust an der Rolle Cäsars immer anzusehen, wobei er seine herrschaftliche Freiheit und Lässigkeit sowie seine nachdenkliche, reizvolle, ja humanste Seite in diesem von Eitelkeiten gedrängten Ringen spielerisch eindrücklich zur Geltung brachte…
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... In the title role, Lawrence Zazzo performed the part of Cesare with a nice touch of humour beyond the mix of boisterous confidence and genuine lovesickness. His affinity for this music is unquestionable, showing off his firm, vibrant countertenor that is still remarkably easy at the top, with impressive coloratura and stylish singing...
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...Dès l’air d’entrée de Jules César, le contre-ténor américain Lawrence Zazzo fait feu de tout bois. Sa voix puissante, aux aigus sonores et larges, voire tonitruants (ce qui sied parfaitement au rôle) sait jouer avec des suavités proches du murmure.
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A Midsummer Night’s Dream at Teatro Massimo Palermo
In bocca al'lupo a tutti i cantanti, il maestro, e l'orchestra del Teatro Massimo -- so wonderful recreating Britten's sound world here in Palermo, especially with my dysfunctional but so lovable fairy family: Tytania Jennifer Obi Wan O'Loughlin, Puck Chris Agius Darmanin, and the real star of the show, local Palermitano "Indian boy" Marco Passatempo!
San Giovanni Battista Festwochen der Alten Musik
“His life was full of amorous adventures. And even church music by Alessandro Stradella is filled with sensual melodies and captivating harmonies. A genre created by Carissimi in Rome, Stradella developed the oratorio further with “San Giovanni Battista”. In the process, he transformed a historical narrative into a lively drama.” altemusik.at
Click here to hear an extract
“The title role was entrusted to the excellent American counter-tenor Lawrence Zazzo who impressed as much by the beauty of his timbre and vocal control as by the great delicacy of his interpretation: he gave an ethereal John the Baptist, detached from the things of this world, opposing the sweetness of his faith to the profanations and attacks of a criminal sensuality.”
munichandco.blogspot.de
Benjamin Britten – “A Midsummer Night’s Dream” at Hamburger Staatsoper
Congratulations to the lovely cast of Midsummer for an adrenaline-fuelled opening night! Flying on Oberon's swing into the gods above you definitely makes every night an adventure...
“Lawrence’s double duty saved the 2nd half of today's performance, thanks!”
magical opera adventure
Weeping Philosophers -
at Wigmore Hall in London
...Lawrence Zazzo and friends perform vocal and instrumental music of the Italian Baroque of the early 1600s, when Italy's city-states and principalities proved a hotbed of creativity....
...Such a privilege to make music with these gents...
Daniele Caminiti (archlute, baroque guitar)
Jonathan Rees (bass viol, viola da gamba)
Silas Wollston (harpsichord, organ)
Giulio Cesare at NEC’s Jordan Hall in Boston
...And he totally seduced the audience in the last act in the aria, “Aure, deh, pieta” in which he sent his song out into the theater on a single breath of astonishing delicacy...
www.berkshirefinearts.com
...Countertenor Lawrence Zazzo proved to be more than a match for the role’s demands, with brilliant high notes, a sonorous low range, and supple roulades...
www.classical-scene.com
...Lawrence Zazzo, as Caesar, in intriguingly plummy, satiny-edged voice;...
www.bostonglobe.com
Rodelinda at Teatro Real in Madrid
Having a wonderful time in Madrid with a fantastic cast and orchestra, singing -- and even dancing! --in Claus Guth's disturbing but beautiful take on Handel's masterpiece, Rodelinda.
...The American Lawrence Zazzo has a less acute voice, more of contralto and therefore, a center with more body and frame. Impeccable musicality and phrasing that always seeks to give life and intention...
Codalario.com
...Lawrence Zazzo incarnated a comic Unulfo through bright and energetic singing, which shows that a countertenor, besides being agile, can also be very robust....
Bachtrack.com
Recital at Oper Frankfurt 28 February 2017
So wonderful to be back in Frankfurt for something completely different - a survey of beautiful and disturbing songs from my disturbed and beautiful homeland, with Simon Lepper on piano. I love the Frankfurt public! Thanks to Simon Lepper my wonderful accompanist for his ideas, virtuosity, colours, and patience!
...Especially Zazzo is not only an exquisite vocalist who can effortlessly climb the highest heights without losing grounding. Rather, he embodies the characters from which he sings, entirely. With subtle gestures and mimicry, even with the smallest colouring of the vowels, Zazzo produces an expression in singing, which is unrivalled among countertenors... Frankfurter Neue Presse
Musical Adventurer 27 February 2017
Frühkritik 1 March 2017
Kulturfreak 1 March 2017
Frankfurter Neue Presse 2 March 2017
"Xerxes" at Oper Frankfurt Januar 2017
... Fast noch bewegender der Countertenor Lawrence Zazzo als Arsamene, agil, doch stets expressiv, in den Momenten tiefer Verzweiflung fast somnambul versunken - und fähig, seiner Stimme vielfältige Nuancen abzugewinnen...
Frankfurter Allgemeine
... "Ich werde sie verlieren - ich werde sie bekommen". Zwischen diesen emotionalen Polen bewegt sich Xerxes Bruder Arsamene, dem Lawrence Zazzo seinen kernigen Countertenor leiht, der noch in höchster Höhe über variable Registerfarben verfügt...
Offenbach-Post
... Der Countertenor Lawrence Zazzo, ausgestattet mit der größten Barock-Erfahrung in diesem Ensemble, zeigte seine Stärken in den organischen Verzierungen, da hatte er einfach die Kernkompetenz...
rankfurter Rundschau
Interview Radio hr2 kultur, 10 January 2017
RCM Students in Aldeburgh
So thrilled to be in Aldeburgh conducting a super talented group of singers and players from the Royal College of Music. We’re performing a rarely-performed Italian-English version of Handel's Acis and Galatea, Thursday, 24 November, 6PM, in the Britten Studio at Snape Maltings.
...It has been a wonderful experience discovering Handel’s alternative version of Acis and Galatea – a hidden gem among his repertoire. Working with Lawrence Zazzo has been inspirational; he has a contagious enthusiasm and I particularly enjoyed the coaching he gave me in baroque ornamentation... rcm.ac.uk
A Midsommer Night's Dream in Beijing
Lawrence Zazzo joined the Festival d’Aix in Beijing as Oberon in Robert Carsen’s classic production of A Midsummer Night’s Dream at the Poly Theatre on 15 & 16 October, launching the Festival d’Aix’s 5-year partnership with the Beijing Music Festival. This follows his critically acclaimed portrayal of the same role at the 2015 Festival d’Aix-en-Provence.
Innsbrucker Festwochen der Alten Musik
The 40th anniversary of the founding concert was performed again at the Spanischer Saal.
...In a final three Handel arias (from "Giulio Cesare" and "Lothario"), with Beyer and Fontana ‘singing’ along on violin and harpsichord, Zazzo, with agility and evenly-balanced tone, ended the evening in vocal splendor.” ... DiePresse.com
Carmina Burana
... Countertenor Lawrence Zazzo made an amusing entrance as the roasting swan, contemplating his own demise by wringing a huge white handkerchief...
The Charlotte Observer on 12 May 2016
...Delaying his entrance onto the Belk Theater until this song began, countertenor Lawrence Zazzo literally made a meal out of it. Emitting a high-pitched lament bordering on sobs, Zazzo compounded the weirdness of his torment in way I would never have anticipated. As he reached the song’s final stanza, beginning “Now I am lying in a serving dish,” he pulled out a large handkerchief. Instead of dabbing his wounds or his tears, he stuffed the handkerchief into his shirt collar, turning it into a napkin. Then he reached into another pocket, fetched out what must have been a succulent duck leg, and began munching on it contentedly as he made his exit...
www.artonmysleeve.net
By the way, it was local Charlotte favourite Bojangles fried chicken not roast duck!
Veremonda, L'amazzone di Aragona,
Schwetzinger SWR Festspiele 2016
…In "Veremonda" the situation is complicated by the fact that both the strong women love the same man, the Christian general Delio. Delio becomes by far the most interesting character, scintillating between treachery, exuberant eroticism and deceit. A feast for a character actor like Lawrence Zazzo, who also gave the most convincing vocal performance. Some of the other artists could not keep up with this standard...SWR Kulturthema 30 April 2016
... Lawrence Zazzo is the womanizer Delio and turns into a seductive, shady suburban ladies' man which is underscored by his otherworldly counter tenor's voice...
Süddeutsche Zeitung 2 May 2016
The driving force of the plot is the attractive, universally desired general Delio, who has to play his game with both queens, do his job and settle an old score at the same time. This means playing with fire. Because Alfonso's father raped Delio's mother, he in turn tries to rape Queen Veremonda. It is one of the more fantastical turns of this libretto that she manages to wriggle out of that situation by feigned affection. On the other hand, the double cross that she and Delio play provides the evening with a pinch of suspense worthy of a TV series.
This is rather complex for a character in a baroque oper. The American countertenor Lawrence Zazzo exactly fits Delio's bill both in his vocal and acting performance.
NMZ online 5 May 2016
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
Partenope tour around Europe
"...Lawrence Zazzo was astounding: He excelled in the laments (essential in the largely plaintive role of Arsace), but could also be found astonishingly alive in the recitatives (the only one who really enjoyed this part of his role), and wetting his shirt in the dreaded "Furibondo spira il vento." Formidable because it borders on parody and portrays a character in a crisis of hysteria who does not seem responsible for its leaps in tessitura, Zazzo delivered the aria with power and impressive aplomb. He clearly surpassed his own recorded version, and delivered the most convincing account we've heard of this famous aria." Forum Opera (Paris concert 13 January 2016)
“There is no other countertenor that shapes every word, every syllable, to provide direction, constantly varying the expression, using the full panoply of historical vocal resources. A not very interesting initial aria, "O Eurimene ha l'Idea di Rosmira", comes to new life in his hands as he gives a lesson in baroque rhetoric. He conquers the impossible coloratura in "Furibondo spira il vento", one of the most complicated of Handel's-and goes straight to the heart in the desolate "Ma quai note di mesti lamenti" and a painful and tender "Ch'io parta? Si crudele" of intense beauty, leaving us with honey on the lips” El arte de la fuga (Madrid concert 23 January 2016)
The Fairy Queen by Henry Purcell
Semi-Opera. Joyful and very Britsh at Berliner Philharmonie with RIAS Kammerchor and Akademie fuer Alte Musik,
Conductur Rinaldo Alessandrini
Lawrence debuts as Orlando with the Welsh National Opera
...Lawrence Zazzo’s Orlando cuts a striking figure. He projects his substantial but agile countertenor to good effect, often with touching expressiveness...
The Guardian
“Lawrence Zazzo, that most manly and forthright of counter-tenors, as a handsome Orlando whose insanity was expressed with graphic and moving power.”
Telegraph
“In the title role, Lawrence Zazzo’s rich countertenor turned from biting fury to melting beauty with ease…his portrayal of Orlando’s madness was one of enormous power.”
Times
A Midsummer Night’s Dream in Aix en Provence
Lawrence has just finished a dreamy anniversary revival of Robert Carsen’s iconic production of Britten’s "A Midsummer Night’s Dream" in Aix en Provence
“Reigning over the fairies are Oberon and Tytania, Lawrence Zazzo and Sandrine Piau, stylish and elegant but also rakish and manipulative. Their elegiac musicality also doubles as a playful game, joined by the rest of the singers to form a coherent and exciting whole” La Croix
“American countertenor Lawrence Zazzo boasts a male coloured alto voice that he used to musical perfection” Opera Today
Semele
Brooklyn Academy of Music, with Christopher Moulds and the orchestra of the Canadian Opera Company, March 2015
St. John Passion
Chicago Bach Project, with John Nelson, March 2015
“Countertenor Lawrence Zazzo’s inward rendering of “Es ist vollbracht!” was the vocal highlight of the evening, aided by equally sensitive obbligato support by Craig Trompeter on viola de gamba” Chicago Classical Review
www.sdgmusic.org
Concertgebouw Debut
I was delighted to finally make my Concertgebouw debut last weekend, in a semi-staged concert version of Giulio Cesare, directed by Michael Chance, and led by Rebecca Huber and Sinfonie Atlantique, along with the wonderful Anna Christy, Patricia Bardon, and Tania Kross, with impressive role debuts by Abi Edward Grint, and Li Meili
You can listen to the broadcast from the Concertgebouw here:
www.radio4.nl
"Lawrence Zazzo came, sang, and conquered" Bachtrack.com
A Royal Trio has been selected as Gramophone’s Editors Choice for November
“Zazzo’s limpid delicacy, and control of nuance within a long-spun line, is as impressive as his bravura exuberance...A nature theatre animal, Zazzo ‘lives’ each phrase, always alive to the sound and meaning of the words...Zazzo and the players—not least the fabulous horns—have all the boldness and virtuoso panache one could wish for in the extrovert arias, culminating in a show-stopping ‘Vivi tiranno’.” Richard Wigmore, Gramophone, November 2014
“the exuberant Vivi, tiranno rounds things off in style,
with Zazzo in glorious voice throughout” Nicholas Kenyon, The Guardian
“Genius” The Whole Note, November 2014
Lawrence’s recent world premiere of Rolf Riehm’s "Sirenen" at Oper Frankfurt
"A brilliant performance from Lawrence Zazzo , stunningly traversing the extremes of his voice from high-virtuoso countertenor to baritone."
Frankfurter Allgemeine , September 2014
Giulio Cesare at English National Opera 2012
"Lawrence Zazzo is one of those rare countertenor voices capable of vivid colouring and strong projection, and his singing of the title role is positively fruity in its richness."
The Telegraph
"Lawrence Zazzo's outstandingly imperious title-hero is the best sung and acted countertenor performance of the part (Giulio Cesare) I've encountered."
Gramophone
"Keegan-Dolan’s approach allows the singers to concentrate on delivering those fiendish arias. In particular the countertenor Lawrence Zazzo hurls out the title role with terrific swagger." The Times
Mitridate at Bavarian State Opera 2011
“Brillante” Frankfurter Allgemeine
“mit Sexappeal und ironischer Brechung, einen der weltbesten Conter-Stimmen, mit der er den Farnace einprägsam zeichnete”
Kulturvollzug
“Vor allem Countertenor Lawrence Zazzo vergisst gern alle gute Vokalerziehung und lässt sämtliche Sicherungen Farnaces durchbrennen: Natürlich könnte auch Zazzo ebenmäßiger singen.”
Münchner Merkur
“Vater und Sohn, Barry Banks und der Counter Lawrence Zazzo, unerschrockene Bühnentiere. Stimmlich allesamt in etwa so, wie man sich eine Aufnahme des Stücks wünschte. Dazu eine fabelhafte Spiellust.”
Sueddeutsche Zeitung
Orfeo et Euridice at the Canadian Opera Company 2011
"Lawrence Zazzo was a magnificent Orfeo. On stage for the whole 80 minutes without an interval, he combined beauty of tone with a searing intensity and unbearable pathos.” Opera magazine
“exquisitely sung by counter-tenor Lawrence Zazzo, in a riveting performance”
Toronto Sun
“This is why we go to music theatre; this is why it exists...It's almost a one-man show, and countertenor Lawrence Zazzo made the hero's journey to the underworld feel like a real-time adventure in the psychology of desperate measures. Orfeo's most famous aria, delivered after he loses Euridice a second time, is often criticized for being too light and pretty for the situation, but for once it felt mysteriously deep, as if beyond mere sorrow - an impression prepared by all that came before, and by Zazzo's shapely, intelligent singing.” Globe and Mail
“nothing short of sensational vocally and dramatically” Toronto Star
“Particularly impressive was the magnificent performance of American countertenor Lawrence Zazzo, who was on stage virtually the whole 80 minutes with no intermission. His Orfeo was a tour-de-force, combining beauty of tone with a searing intensity that left one breathless.” La scena musicale
“Most contraltos I’ve heard could eat the average countertenor as appetizer only. This is not the case for Lawrence Zazzo, who is Orpheus indeed. What is so appealing about Zazzo’s Orpheo is the combination of the devoted, unwavering love, tessitura and texture the role calls for, mixed with Zazzo’s overall manliness. He has created the strong-but-sensitive guy, filled with beautiful songs, willing to do the dirty work or die trying. That’s hot.” The Epoch Times
Radamisto at English National Opera
Critical acclaim for Lawrence's recent performances of Radamisto at ENO 2010
"Lawrence Zazzo sings the title role with such beauty, all the while acting like an Oscar winner, that he deserves to be known as the king of countertenors." Financial Times
"Best of all was the American countertenor Lawrence Zazzo in the title role, which must originally have been written with a castrato in mind. In Handel's day, the castrati were the true stars of the opera, but hearing the surgically unmodified Zazzo reaching the same notes in a powerful, clear and totally natural-sounding high voice is surely just as gripping as anything the 18th century could offer." Express
"But the star "international" turns come from Lawrence Zazzo (Radamisto) and Christine Rice (Xenobia), dramatically and musically a really telling alliance of male and female altos. "Soul and Shadow" was soulful and searching, his opulent and beautiful countertenor at the service of heartfelt musicality. Very special." The Independent
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