Andrea Carè, ein Spintotenor aus Turin, konnte als Pinkerton voll und ganz überzeugen. Fast wie veni, cantavi, vinci. Eine schön timbrierte Stimme, die sehr gut trägt, und kein Brüller. Sein Stil mit der leichten Träne im Vortrag der Rolle ist alter italienischer Stil in bester Form. Darstellerisch ist er schon Dank seines Aussehens vollkommen richtig am Platz.”

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“Mario Cavaradossi, Tosca’s beloved, was Andrea Carè, whose generous tenor was perfectly suited to the passionate young lover. His emission was natural and unaffected, but, at the same time, always elegant, never indulging in the excesses of verismo. He had a very natural demeanour on stage and showed great chemistry with Stundytė. His “E lucean le stelle” was arguably the highlight of the evening: he sang with great emotion, pouring his heart out, and the audience responded by stopping the show with well-deserved applause.”

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“Andrea Carè se montre stylistiquement plus rigoureux. Le ténor, fort d’un timbre lumineux, compose avec justesse le personnage de Radamès, qu’il impose de belle façon…”

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“Jenůfa’s lover, Števa Buryja, was Andrea Carè, whose open and Italianate sound was effective and charming…Carè’s performance was extremely powerful: his natural, generous singing made Števa understandable…”

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Andrea Carè, as Loris, was in wonderful form at the première. The role is perfect for his voice, and he gave us a memorable interpretation. His “Amor ti vieta” (the opera’s best known tune) rightly stopped the show. His technique is impeccable, solving all the problems of the part with nonchalant ease. His tenor is powerful in the chest register, it goes a bit in the nose as it gets higher (a little too much for my taste), but then, at the following passaggio, it blooms in high notes which are extremely easy, natural and beautiful. In general, here was a natural, Italian, spontaneous voice, which perfectly suited the young, reckless lover.
The interpretation of the two main characters was very enjoyable: Grigorian’s Italian pronunciation is excellent, and the two singers showed very good chemistry. They also successfully steered away from the typical exaggeration of verismo, always singing with elegance. Carè’s sobs, at the news of his mother’s death, were realistic but proper, which is very hard to accomplish. And Grigorian’s “Loris, dove sei?” (a known pitfall for all Fedoras, who tend to yell and scream these words) was sweet and in very good taste.”

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“Andrea Carè, as Loris, was in wonderful form at the première. The role is perfect for his voice, and he gave us a memorable interpretation. His “Amor ti vieta” (the opera’s best known tune) rightly stopped the show. His technique is impeccable, solving all the problems of the part with nonchalant ease. His tenor is powerful… it blooms in high notes which are extremely easy, natural and beautiful. In general, here was a natural, Italian, spontaneous voice, which perfectly suited the young, reckless lover.”

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“A Ginevra si ascolta una compagnia di tutto rispetto ed è ovviamente un grande piacere vedere che protagonisti di un’opera di tradizione interpretativa tutta francese sono stati chiamati due italiani, Andrea Carè (Sigurd) e Anna Caterina Antonacci (Brunehilde). Cominciamo dal protagonista, il tenore Andrea Carè, che si disimpegna con grande proprietà stilistica e indiscutibili mezzi vocali dal difficile ruolo di questo Sigfrido francese. La voce è potente e bella, l’accento veramente eroico (ma capace anche di qualche inflessione più tenera e patetica), il fraseggio e la dizione (cosa rara) sono curatissimi. Qualche acuto un po’ troppo spinto (complice forse anche la prevedibile emozione della prima) non ha compromesso un’esecuzione in tutto credibile di un ruolo impervio. La difficile aria dell’atto secondo “Esprits gardiens de ces lieux venereés” (cavallo di battaglia dei grandi interpreti francesi fra le due guerre, come César Vezzani e José Luccioni) lo ha trovato perfettamente a suo agio nel settore acuto e ha suscitato numerosi applausi e autentica emozione tra il pubblico ginevrino.”

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“Bonheur d’autant plus complet que le reste de la distribution s’avère sans faille : l’Italien Andrea Carè saisit avec finesse la complexité d’Osaka, entre pulsions libidineuses et esquisse de sentiments plus « vrais »…”

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“Andrea Carè, Osaka, est un excellent ténor à la voix jeune, puissante, nuancée, sensible et sensuelle. Le seul air véritable de la partition, « Apri la tua finestra » est exceptionnel de tenue.
Tout autant, sa longue intervention au deuxième acte, où s’enfle son désir sensuel pour devenir une passion que l’on croit sincère est un morceau d’anthologie “

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“Andrea Carè ist an ihrer Seite ein stimmlich agiler Don Carlo und bewegt sich vor dem minimalistischen Hintergrund des Bühnenbilds mit geradezu tänzerischer Intuition. Insgesamt überzeugt die differenzierte Bewegungschoreografie, der die Sänger folgen.”

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