La traviata – Rome Opera House / Baths of Caracalla
Director Paolo Arrivabeni
Directed by Lorenzo Mariani
«Here there is no graceful role for the baritone, defended by Marco Caria, who represents the interests of the family, a medical institution on occasion and also the members of the original horde now organized in a bi-thinking society like the mid-19th century. Without embargo, I interpreted with solvency- on cuerda always es muy agracidad además- los pasajes más más conocidos de on meeting with the protagonist in his house in the field, alone and the reunion with Alfredo, on Flora's party, after the discussion between the lovers for example».
Alicia Perris, Operaclick.com
The review refers to the performance of August 9thor 2023.
The rustic cavalry – Municipal Theater of Sassari
Director Andrea Solinas
Directed by Sante Maurizi
«The betrayed carter is played in an exemplary way by the good baritone Marco Caria, already personally appreciated in the part of Germont the father in last year's La Traviata, also at the Sassari Theatre. Voice that has the warmth and softness of velvet, expressive, and rich in nuances. His Alfio has a proud posture and a good-natured look capable of quickly changing to become hard and inflexible. A man in one piece who works and demands respect right from the moment he enters the scene with the whip cracking in time. The voice is wide and emerges from the choir and the orchestral wall.
When he says "Lola is waiting for me at home who loves me and consoles me, who is completely faithful" the male part of the choir seems to agree with confidence, unlike the female sector where the women seem more busy gossiping, and it is legitimate to think that they are maligning Lola's alleged loyalty.
His fury in learning of the betrayal and in swearing revenge on the two traitors is extremely successful.
But the most scenic moment is the clash with Turiddu and the subtle provocations to induce him to duel: the firm and resolute way with which he refuses the wine, the icy gaze directed at his rival with his mouth folded in a sardonic laugh, some small gestures addressed to their friends, they draw a complex Alfio, far from a stereotyped vision, more true, cold, determined... more "flashing".
He is a man who is guided by a sense of honor but who keeps his impulses in check by acting with terrible coldness.
His superiority compared to a young, drunk Turiddu, prey to his passions and furious impulses that he cannot control, is evident, and leaves his opponent no way out in the melee duel that takes place off-screen».
Loredana Atzei, the Theaters of the East
The review refers to the performance of the 8th June 2023.
The rustic cavalry – Municipal Theater of Sassari
Director Andrea Solinas
Directed by Sante Maurizi
«Marco Caria draws a modern Alfio well, restrained and composed, different from certain angry and cruel caricatures of the so-called tradition. On the contrary, the repressed anger and the finesse of the vocal nuances give his character a three-dimensionality that no caricature can ever have; especially noteworthy is the sober ending which loads the character with a decidedly interesting inevitability."
Gabriele Verdinelli, GBopera
The review refers to the performance of the 8th June 2023.
https://www.gbopera.it/2023/06/sassari-teatro-comunale-cavalleria-rusticana/
La traviata – Municipal Theater of Sassari
Director Stefano Ranzani
Directed by Paolo Vettori
«However, the performance of Marco Caria from Sassari, in the role of Germont the father, was notable for its expression, vocal beauty and variety of accents: excellent in the duet with Violetta, he landed the insidious anadiplosis well in Di Provenza il mare, il suol... The medium-high register, burnished and sonorous, is his best weapon...".
Gabriele Verdinelli, GBopera
The review refers to the performance of December 4, 2022.
https://www.gbopera.it/2022/12/la-traviata-chiude-la-stagione-del-teatro-comunale-di-sassari/
La traviata – Municipal Theater of Sassari
Director Stefano Ranzani
Directed by Paolo Vettori
«The jewel in the crown of this production is the baritone Marco Caria who portrays a truly extraordinary Papa Germont. A powerful voice but capable of a thousand nuances. Spontaneous acting with carefully crafted gestures and truly participatory facial expressions. In the duet with Violetta in the second act, for very brief moments, we see him participate in her pain. Almost overcome with compassion, he is about to extend his hand in a caress, unseen, and then quickly withdraw it and recompose himself in his role as an authoritarian father who must complete a task, however arduous it may be. In the duet with Alfredo, he is equally shocked when he reads Violetta's letter and understands the woman's profound sacrifice. Nonetheless, he approaches his son with the strength and arrogance of a nineteenth-century master father. Less of a sneaky manipulator and more of an infantry officer ready to give orders. He performs “Di Provenza il mare, il suol…” with a bewitching interpretative richness, just as the execution of “No, non udrai reproachi, let's cover the past with oblivion…” is refined and full of colours.
Loredana Atzei, the Theaters of the East
The review refers to the performance of December 4, 2022.
Simon Boccanegra – Teatro Massimo in Palermo
Director Jordi Bernàcer
Directed by Sylvano Bussotti filmed by Paolo Vettori
"The most psychologically interesting role, and best interpreted, from my point of view, during both evenings, was Marco Caria's Paolo Albiani. The baritone, enjoying a particular softness in his delivery and perfect diction, he embodied the Mephistophelean character who seems to be a precursor of Iago. Caria's song excites at the opening of the second act ("I have cursed myself! And the anathema still pursues me"), or the scene that marks the doge's fate; he is incisive in intoning the few words that explain his intervention in the development of the story (“Scordasti che mi hai il soglio”, first act); he is moving, also for the beauty of tone, at the beginning of the third act (“All'estremo torture”).."
Federica Faldetta, OperaClick
The review refers to the performances of 22 and 23 February 2022.
Aida – Macerata Opera Festival
Director Francesco Lanzillotta
Directed by Valentina Carrasco
"Marco Caria plays an excellent Amonasro, strong with a well-toned and extended voice and an interpretative line that banishes any realism-like excess to bring the character back to the necessary dignity of a defeated King and father eager for revenge."
Domenico Ciccone, OperaClick
The review refers to the "premiere" on July 23, 2021.
https://www.operaclick.com/recensioni/teatrale/macerata-sferisterio-aida-2
Cagliari – Lyric Theatre: Pagliacci
Director Lü Jia
Directed by Gabriele Lavia, filmed by Daniela Zedda
"Enthralling in the initial prologue - sung with an adequate display of harsh accents and brilliant high notes -, Marco Caria lends his beautiful baritone voice to a soured and satanic Tonio, all played on the equation between physical deformity and inner perfidy."
Carlo Dore, OperaClick
The review refers to the "premiere" of February 28, 2020.
Aida
Director Jordi Bernacer
Directed by Denis Krief
"More than discreet Marco Caria as Amonasro: the vocal breadth was the right one to accurately portray the personality of Aida's father, without forgetting the vigorous phrasing and the Verdian words which were excavated with the sound "shovel" most appropriate to the 'occasion."
Simone Ricci, Free Opera
Rome, 13 July 2019.
The Traviata
Director Pietro Rizzo
Directed by Sofia Coppola
Valentino costumes
"Marco Caria thrilled with his Giorgio Germont who imposed himself "on tiptoe". From this character we always expect nuances, softness, insinuating accents and the Sardinian baritone showed them all off. The duets with Violetta went smoothly like oil, without forgetting Di Provenza's profound and accurate interpretation of the sea, the soil."
Simone Ricci, Free Opera
Rome, 18 January 2019.
http://www.operalibera.net/joomla/recensioni/spettacoli1/1837-la-traviata-opera-roma-gennaio-2019
Verdi's Rigoletto last night at the Teatro Lirico in Cagliari:
a captivating show with a cinematic flavour
Director Elio Boncompagni
Directed by Pier Francesco Maestrini
"Marco Caria gives voice to a sensational Rigoletto, which could not have been represented better than this. With his powerful and strong singing he involves the audience in the events of the court jester, furthermore, also through his movements and expressions, he demonstrates that he knows how to empathize fully in character."
Giampaolo Sanna, Online Chronicle
Cagliari, 15 December 2018
Cagliari, Rigoletto, 23/12/2018
Director Elio Boncompagni
Directed by Pier Francesco Maestrini
"Simple in clothes and wrapped in his black cloak is Rigoletto by the excellent Marco Caria, whose penetrating voice and incisive gestures are well suited to representing the court jester in his dual human and intimate nature - a father with a benevolent soul and an indulgent avenger -, peculiarities that still enhance Verdi's thought, in which the lyrical and dramatic power of his characters is crucial."
Carla Monni, The musical bee
https://www.apemusicale.it/joomla/recensioni/43-opera/opera2018/7127-cagliari-rigoletto-23-12-2018
Chieti – Marrucino Theatre: The troubadour
Director Sebastiano Rolli
Direction and lighting Valentina Carrasco
"Arriving practically at the last moment, Marco Caria fits very well into the stage game and equally well in rendering an extremely multifaceted character with singing, thanks to a skilful use of phrasing. The voice has the color and breadth suited to the role, and appreciates it as much in the most excited moments of the trio that closes the first act as in the more twilight atmospheres of the Balen of his smile."
The review refers to the performance of November 2, 2018.
Domenico Ciccone, OperaClick
http://www.operaclick.com/recensioni/teatrale/chieti-teatro-marrucino-il-trovatore
Modena – Luciano Pavarotti Municipal Theater: The corsair
Director Matteo Beltrami
Directed by Lamberto Puggelli
"The baritone Marco Caria loved to show off his considerable volume and his confident and well-toned high notes, giving life to a valuable duet with Gulnara in the third act, in which he first underlined the mellifluous irony of the words and then the violent explosion of jealousy. "
The review refers to the performance of 26 October 2018.
Ugo Bedeschi, OperaClick
http://www.operaclick.com/recensioni/teatrale/modena-teatro-comunale-luciano-pavarotti-il-corsaro