Gianluca Zampieri

Les Bienveillantes, Vlaamse Opera Antwerpen

„Parmi le trio masculin, complémentaire en tessitures et en masse physique chauve et menaçante, le ténor Gianluca Zampieri est le premier soutien du personnage et du chanteur principal. Ce Docteur Mandelbrod cite certes le Docteur de Wozzeck (et même son capitaine) par des coups de trique vocaux sur des accents vifs et secs, pourtant la voix se déploie ample, généreuse et loin de  ecoration  le soldat (comme le font le docteur et le capitaine de Wozzeck), il soutient Max dans son parcours jusqu’à la  ecoration des mains du Führer.” Olyrix

Siegried, Tiroler Festspiele Erl

„Es passiert bei dieser Oper sehr selten, dass man den Sänger der Titelrolle an erster Stelle positiv erwähnt: Gianluca Zampieri [wird] mit seiner tragfähigen Stimme allen Voraussetzungen dieser schwierigen Rolle gerecht. Schon mit den Schmelz- und Schmiedeliedern konnte er voll überzeugen. Auch die lyrischen Stellen im 2. Akt kamen seiner Stimme sehr entgegen.“ Der neue Merker

Tannhäuser, Tiroler Festspiele Erl

„In bemerkenswert gutem Deutsch – vielleicht überhaupt als erster italienischer Tenor, der in dieser Partie reüssiert? –, verteidigt er beim Sängerkrieg temperamentvoll sein Wissen um die wahre Liebe und macht mit der eindringlichen Romanerzählung allen großen Rollenvorgängern ernstliche Konkurrenz. Er weiß sichtlich, was er singt, tut dies immer wohlklingend, mit stabiler Mittellage und viel Höhenstrahl, und kann die unterschiedlichsten Klangfarben anbieten. Gottes Erbarmen ist da wahrlich „kein Spott“ – er hat sich die finale Vergebung verdient. Nur mit einem so überzeugenden Titelhelden ist diese Oper wirklich glaubwürdig.“ Der neue Merker

Siegfried, Tiroler Festspiele Erl

„Gianluca Zampieri war mehr als ein rollendeckender Jung-Siegfried. Mit seinem kräftigen Tenor hielt er mühelos bis zum finalen Duett mit Brünnhilde durch. In seiner Darstellung arbeitete er das kndische, spitzbübische Elementglaubhaft heraus. Auch der Wandel dann im 3. Akt zu ernsthaften Gegner von Wotan und zum feurigen Liebhaber der Brünnhilde gelang ihm bestens […].“ Der neue Merker 

Tristan und Isolde, Tiroler Festspiele Erl

“Gianluca Zampieri offers after his debut as Tristan supple hero performance that actually sounds effortless, elegant, and it shines in the heights. Turn to admire the clarity of the text with good diction and ability to shade.”

“Gianluca Zampieri has momentous, especially Tristan economy. In addition this really juvenile, heroic tone and colors for lyrical and feverish, torn passages, those self-destructive expressivity of the role.”

"Gianluca Zampieri sings the murderous part of Tristan with youthful-heoric timbre, and gives the feverish broken passages a self-destructive expressivity."

"Gianluca Zampieri, who grew with the part of Tristan, shows convincingly that Tristan is at the mercy of his feelings and destiny. He bears the tour de force in the last act with impressive voice and figuration." Tiroler Tageszeitung

"The 3rd act is the climax of the evening: Gianluca Zampieri raves his feverous visions crawling at the front of the stage and shows no signs of fatigue in his voice or acting." Süddeutsche Zeitung

"The way the Italian Gianluca Zampieri, who has already given an impressive performance of Tristan several times, turns in a pretended evadingly manner to Isolde, is fascinating. He posses a very consolidated tenor voice, which he uses in the 3rd act with enthralling intensity to draw a psychograph of the orphan, that [...] only found in the encounter with Isolde to his real self and doesn't want to let this go." Der neue Merker

24h-Ring, Tiroler Festspiele Erl, 2014

“A considerable achievement offered also Gianluca Zampieri as Siegfried.” Der neue Merker

“He wears his hair up to his shoulders and has the appearance of a young hero. In the middle range his voice is especially sonorous, and he always sang his role very lyrical, without screaming at any moment. […] He [showed] great endurance and a touching death scene.”

“Two singers share the star part of Siegfried, Michael Baba in ‘Siegfried’, Gianluca Zampieri in ‘Götterdämmerung’ : […] the second, who is already well known in Erl for his interpretations of Wagner-roles, acts with a strong and secure voice, alongside with a great musicality (I still remember his amazing Tristan); calm, dreamy, not to adapted in some sort, it’s a fatalistic type of Siegfried that he shows until the final murder.”

Peter Grimes, Theater Trier

“Zampieris art of acting makes the character come alive and gripping. His in all positions well pleasing voice and his plenty reserves of power allow him not to fight for the heavy role but to play, wonderfully sovereign in command of dynamics and tempo.”

“Zampieris acting alternates always between stubbornness and madness. So he manages to find an access to the figure that leaves the viewer in suspense whether he can have compassion for the fisherman Peter Grimes or not. [...] Both have a huge vocal volume.”

“Gianluca Zampieri succeeds in drawing a delicately balanced character of Peter Grimes. In a moment still a tendency to rough violence perpetrator, in the next moment the victim rejectted from the crowd, because it does not understand him being different. Vocally, the role is a real challenge, which requires a considerable vocal stamina. Zampieri owes nothing to the role, moves safely, although the relatively high position demands a lot of power.”

“Gianluca Zampieri in the role of Peter Grimes sings the whole claviature of feelings. He can make you cry when he tells from the dead boy. You can feel his despair, his hardness compared to the second apprentice which is understandable but in the same time almost unbearable to look at - it is a single tragedy, and Zampieri sustains it masterfully.” Luxemburger Tagblatt

“Gianluca Zampieri is a tenor who is absolutely ideal for the title role. With his powerful voice, bonding in all positions, from soulful piano to dramatic outbursts, he designed a Peter Grimes as Britten composed in notes.” Der neue Merker

Tosca, Teatro Comunale Chiabrera di Savona

“Zampieri was particularly convincing in those parts that require a great amount of strength. Cavaradossi's voice truly filled the entire theatre. Inevitable therefore were the ovations for Lucevan le stele. […] but Recondita armonia also produced some incredibly intense moments.” La Stampa

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