OTELLO – BAYERISCHE STAATSOPER MONACO – SETTEMBRE 2019 

Iago , géniale incarnation de Claudio Sgura, beaucoup plus diabolique que ne l’était le doux Finley ce qui nous donne un affrontement absolument inoui d’où Otello sortira vaincu, littéralement piqué par le venin d’un serpent.

Ce Iago là est tout à la fois d’une intelligence aigue magnifiquement montrée par l’acteur sur scène face à un Otello brut de décoffrage et à qui il manque de toute évidence, la capacité à s’élever au-dessus de ses sentiments primaires. Iago manipule tout le monde et mène le bal. Claudio Sgura est de très haute taille, très à l’aise sur scène, il domine Otello très rapidement, moralement comme physiquement. 

[…]Le Iago de Claudio Sgura est bien plus adéquat à la rencontre avec Kaufmann et leurs deux personnages se marient superbement.

Une bonne surprise que ce baryton, beau timbre, belle variation des styles, tout à la fois retors, rusé et intelligent, capable du legato verdien le plus parfait et de belles montées remplies d'une ironie mordante qui fait mouche.

Hélène ADAM– Passion Opéra 

TOSCA – ARENA DI VERONA- LUGLIO 2019

Il baritono Claudio Sgura torna in Arena per vestire i panni del crudele Scarpia, sfoderando un timbro scuro e poderoso, nonché una presenza fisica autorevole, che passa con nonchalance dall’austerità marziale del magistrato alle pulsioni da «bigotto satiro che affina colle devote pratiche la foia libertina.

BRESCIA OGGI– Settembre 2019

CAVALLERIA E PAGLIACCI, NDR KLASSIK OPEN AIR HANNOVER - LUGLIO 2019

Als sein Gegenspieler brachte der Bariton Claudio Sgura (Tonio und Alfio) dagegen diabolische Tiefe hinein. Schon für seinen überragenden ersten Auftritt im Prolog des "Bajazzo" wurde er vom Publikum begeistert gefeiert. Seine Wandlungsfähigkeit bewies er sowohl im Dialog mit Nedda als auch in der "Cavalleria" als betrogener Alfio.

(Il baritono Claudio Sgura (Tonio e Alfio) ha interpretato i ruoli con diabolica profondità. Già alla sua straordinaria prima apparizione nel prologo de “I Pagliacci” è stato accolto con entusiasmo dal pubblico. Ha dimostrato la sua versatilità sia nel dialogo con Nedda che nella "Cavalleria" come l’ingannato Alfio)

ALEXANDER NORTRUP AND AMREI FLECHSIG - NDR.DE

 

 

Claudio Sgura, ebenfalls ein international erfahrener Verismo-Sänger, hat einen so runden und durchschlagenden, dabei tief dunkel und sehr facettenreich gefärbten Bariton, dass er eine kongeniale Ergänzung zu Mario Bertis Tenor war.

(Claudio Sgura, cantante di verismo con esperienza internazionale, ha un tono baritonale così rotondo e clamoroso, profondamente scuro e molto sfaccettato, che è stato una congeniale aggiunta al tenore Marco Berti)

CHRISTIAN SCHUETTE - ONLINE MERKER 

Vom Anfang bis zum Ende zu überzeugen vermochte der italienische Bariton Claudio Sgura. Er verstand es im Handumdrehen, dank seiner mitreißenden Präsenz und seiner sonoren, kernigen Baritonfarbe das Publikum auf seine Seite zu ziehen. 

(Dall'inizio alla fine, il baritono italiano Claudio Sgura è riuscito a convincere. Ha subito compreso rapidamente come attirare il pubblico al suo fianco grazie alla sua presenza eccitante e alla sua tonalità sonora e baritonale)

LEON BATTRAN - KLASSIK BEGEISTERT 

MADAMA BUTTERFLY - SAN CARLO DI NAPOLI - Maggio/Giugno 2019 

Ottimo lo Sharpless di Claudio Sgura, autorevole per voce e presenza scenica ed elegante nel fraseggio.

SERGIO PALUMBO - CULTURA SPETTACOLO 

 

Claudio Sgura offre al suo Sharpless meditato e preoccupato la grande professionalità sua, che gli fa superare brillantemente la prova; il personaggio non presenta, è vero, particolari difficoltà vocali – che comunque non fornirebbero certo motivo di preoccupazione per il baritono pugliese – ma, sul piano drammaturgico, finisce spesso per oscillare tra buonismo e cinismo, disincanto e affettazione. I toni del diplomatico in principe di Galles sono invece parsi sempre quelli giusti, nell'interpretazione di Sgura, di paterno affanno per il giovane incosciente e la giovanissima ragazza, accomunato in questo con una Suzuki iperprotettiva e inquieta

LUIGI PAOLILLO - FERMATA SPETTACOLO  


 

FANCIULLA DEL WEST - STAATSOPER HAMBURG- Maggio 2019   

Spannung zu erzeugen und dabei auch das Unsympathische, und subtil Verzweifelte seiner Figur überzeugend zu zeigen, liegt BaritonClaudio Sgura im Blut. Der schlanke Hüne scheint wie geschaffen für Opernbösewichte, wie Rance, Jago oder Scarpia, bewies jedoch im Oktober 2017 hier an der Staatsoper Hamburg als einfühlsamer Simon Boccanegra seine darstellerische, wie auch stimmliche Wandlungsfähigkeit. Auch gestern überzeugte und überraschte er mit den vielen Tonfacetten seines Baritons: von tiefdröhnend bis volltönend warm und weich.

Birgit Kleinfeld - OPERNMAGAZIN

ANDREA CHENIER - CIRCUITO TEATRI DELL'EMILIA - Febbraio/Aprile 2019

Dalla compagine musicale è spiccato il Carlo Gérard di Claudio Sgura, bella presenza scenica, voce voluminosa e ben amministrata, ottima dizione, tutti elementi che hanno conquistato il pubblico del Regio.

GIAN FRANCESCO AMOROSO - LE SALON MUSICAL 

 

 

Sgura riesce con sensibilità a interpretare le molte facce di Gérard, rivoluzionario lacerato tra il desiderio di libertà e la consapevolezza di rimanere sempre un servo, delle passioni o della rivoluzione stessa. Per fisicità e autorevolezza risolve bene il ruolo, nodale nella trama dell’opera. Voto 8,5

LUCIA BRIGHENTI - GAZZETTA DI PARMA  

 

 

Ottimo anche Claudio Sgura, che restituisce a sbalzo la figura complessa di Carlo Gérard per mezzo di accenti espressivi, timbro profondo e volume ragguardevole. Trascinante, quasi commovente, è il trasporto con il quale pronuncia la difesa di Chénier nel quarto quadro.

RUBEN VERNAZZA - CONNESSI ALL'OPERA 

Claudio Sgura è un Gérard di grande personalità. Il timbro pieno e importante, la nobiltà della linea di canto e l’incisività del fraseggio sottolineano con efficacia il conflitto interiore del suo personaggio. Ricco di pathos “Nemico della patria?” che cresce in intensità fino al potentissimo finale.

PATRIZIA MONTEVERDI - OPERACLICK  

 

 

Presenza di grande fisicità e forte autorità, il baritono Claudio Sgura domina la scena e funge da vero e superbo catalizzatore per l’intero cast. Voce potente e sontuosa, di caratura eccezionale come poche, sbalordisce per la viscerale immedesimazione nel personaggio. Il fragore dei migliori «Bravo!» è a lui giustamente riservato.

ATTILIO CANTORE - I TEATRI DELL'EST 

Claudio Sgura, Gérard, con un’accentazione mutevole e variegata, ben supportata da una vocalità solida, da un timbro brunito e un’emissione affidabile, insegue ad arte la parabola involutiva della rivoluzione. All’ardimentoso monologo di sortita si contrappone infatti la disillusione di «Nemico della patria?», proferita con la straziante mestizia. E il fraseggio allucinato della scena successiva, quando Gerard s’infiamma d’ardore lombare, fa di questa incontenibile passione l’ultima spiaggia per un uomo a cui non rimane più nulla.

ANTONINO TROTTA - L'APE MUSICALE

Più completa l’interpretazione del baritono Claudio Sgura (Gérard), anch’egli dotato di voce ampia, solida, sicura, il quale ha sottolineato con intelligenza, evitando eccessiva foga declamatoria, sia la fierezza appassionata del rivoluzionario, sia la passione per Maddalena e il proprio pentimento.

UGO BEDESCHI - OPERACLICK 

 

Tosca, Metropolitan Opera New York - Nov. 2018

 

Italian baritone Claudio Sgura’s unique Scarpia, a soft-grained and debonair villain who stalks his prey with the unhurried confidence of a panther.

OUSSAMA ZAHR - THE NEW YORKER - 

 

And the entrance of the evening’s Scarpia, the unfamiliar Claudio Sgura, prompted a gasp from more than one audience member: taller than just plain tall, he instantly commanded the stage with smoothly sardonic relish; and if he seemed a little vocally gray in Act I, he rose nimbly and firmly to the demands of Act II, where he and Radvanovsky repeatedly provoked chills.

PATRICK DILLON - OPERA CANADA 

Andrea Chénier, Teatro Petruzzelli di Bari - 2018

Il baritono pugliese Sgura, dalla figura imponente, supera la difficile prova e, nel plasmare il complesso ruolo di Gerard, sfoggia un calore ed una drammaticità che trovano adeguata espressione e giusti accenti nella romanza “Nemico della Patria”.

IL QUOTIDIANO ITALIANO

Che, ovviamente, non ha lesinato applausi – ampiamente meritati – per il beniamino di casa, Claudio Sgura, oggi cantante in costante ascesa che dona al suo Gérard una presenza scenica perfetta fatta di trattenuta violenza e beffardo orgoglio, insieme all’emissione sicura e dal carattere scuro, senza cadute d’intonazione e di gusto.
FERMATA SPETTACOLO

Ottimo il Gérard di Claudio Sgura soprattutto per l’interpretazione attoriale che ha assegnato al personaggio l’importanza che merita nel dramma.

GBOPERA

Il baritono Claudio Sgura, di origine ostunese, ha indossato per la prima volta i panni di Carlo Gérard con portamento elegante associato a un pregevole timbro vocale, quelle stesse qualità che negli ultimi dieci anni gli hanno consentito di calcare con successo i palcoscenici di tutta Europa diventando il riferimento per ruoli come Scarpia o Jack Rance.

Applausi a scena aperta dopo l’appassionante esecuzione di “Nemico della patria”.

IL TACCO D'ITALIA

Il baritono pugliese Sgura, dalla figura imponente, supera la difficile prova e, nel plasmare il complesso ruolo di Gerard, sfoggia un calore ed una drammaticità che trovano adeguata espressione e giusti accenti nella romanza “Nemico della Patria”.

IL QUOTIDIANO ITALIANO

La Fanciulla del West, Teatro San Carlo di Napoli - 2018

Di Claudio Sgura, lo sceriffo Jack Rance, non si scopre oggi il talento. Baritono di colore sorprendentemente limpido (a volte, per carità di patria, si definisce brunito un timbro che è solo ingolato), mette in campo potenza e classe con esiti di livello assoluto. Non ha mai gigioneggiato - e sì che il ruolo è a rischio - definendo un personaggio credibile e teatralmente efficacissimo.

L'OPERA

Simon Boccanegra - Staatsoper Hamburg 2017

In der Titelrolle bot Claudio SGURA eine absolute Glanzleistung. Die Stimme ist groß, angenehm timbriert und im Forte und im Piano gleichsam qualitätsvoll. Darauf ruht der Sänger sich jedoch nicht aus, er singt nuanciert und bietet kluge Phrasierungen. Er läßt sich jetzt auch das Spielen nicht nehmen und läßt immer wieder Simons Vergangenheit als Korsar sehen. Sehr schön ist, wie er im Prolog und am Ende, wenn Simons sich nach dem Meer zurücksehnt, breitbeinig dasteht, als würde er sich auf einem Schiff befinden. Claudio Sgura sang einen eher Iyrischen und doch ergreifenden Simon Boccanegra, sehr präsent in den Iyrischen Sequenzen und doch mit der nötigen Autorität in der Stimme für die dramatischen Augenblicke gesegnet. Claudio Sgura überrascht damit, dass er beides mit Bravour liefert: er schmettert genauso Wut und Verzweiflung heraus, wie er beim ausdrücken von Liebe, Hoffnung, Trauer und Trost, besonders in den hohen Lagen, Ohr und Seele schmeichelt.

Otello - Staatsoper Hamburg 2017

 

https://www.welt.de/print/die_welt/hamburg/article161020140/Otello-sattsam-unbekannt.html

 

http://www.noz.de/deutschland-welt/kultur/artikel/832914/otello-in-hamburg-jubel-und-buhs-fuer-calixto-bieito#gallery&0&0&832914

 

http://www.ndr.de/kultur/musik/Bieitos-Otello-an-der-Staatsoper-Hamburg,staatsoperhhotello100.html

 

http://www.hamburger-wochenblatt.de/st-georg/kultur/eine-tragoedie-um-liebe-intrigen-und-eifersucht-d37518.html

 

https://svensopernparadies.wordpress.com/

http://dastorzurwelt.blogspot.com.es/2017/01/es-ist-eine-frage-des-geldes.html?m=1

http://klassik-begeistert.de/otello-giuseppe-verdi-hamburgische-staatsoper/

Hamlet, Franco Faccio-Bregenz Festival - 2016

 

Non ha problemi di dizione invece il nostro Claudio Sgura, un re Claudio dalla voce potente, ma che sa piegarsi nella preghiera verso una dolorosa intimità.

OPERAINCASA.COM

Samson et Dalila - Teatro Regio di Torino 2016

Il baritono Claudio Sgura, nei panni del sommo sacerdote di Dagon, appare in una forma vocale smagliante: la voce è come sempre robusta e l’emissione sicura. Per di più la lingua francese aiuta il cantante a “raccogliere” i suoni e a porgere le frasi con un’eleganza maggiore di quanto non sia solito mostrare in altro repertorio.

Connessiallopera.it

http://www.liricamente.it/showdocument.asp?iddocumento=1276

 

http://www.liricamente.it/showdocument.asp?iddocumento=1275

 

http://www.mtglirica.com/categorie/recensioni/samson-et-dalila-camille-saint-saens-teatro-regio-di-torino-domenica-20-novembre-

 

http://unavocepocofa915.blogspot.com.es/2016/11/sansone-e-dalila-teatro-regio-di-torino.html

La fanciulla del West - La Scala 2016

 

"Infine si può veramente parlare di grande Claudio Sgura Musiculturaonlinestatura scenico-vocale per il baritono Claudio Sgura nella parte dello sceriffo Jack Rance che ha inaugurato nella storia interpretativa del ruolo un Rance giovane, avvenente ed emotivamente sensibile. Autorevole sulla scena in gesto e movimenti, dotato di una vocalità dal timbro abbastanza chiaro ma eloquente, ha incarnato il fulcro corale dell’opera (in fondo Rance è il simbolo di tutti coloro che desiderano Minnie, ma non possono averla) in modo elegante e impeccabile."

Musicultura Online

 

"Davvero notevolissimo il Jack Rance di Claudio Sgura, baritono dalla voce imponente e perfettamente utilizzata tanto nel canto spianato quanto in quello definibile come “declamato”.

E’ un artista totalmente immedesimato nel suo ruolo e si inserisce perfettamente nella visione registica di un certo “style” da osteria “mafiosa” tipica di inizio secolo scorso in alcune zone degli Stati Uniti."

Simone De Angeli, MTGLirica

 

 

“My favourite singer on the night was Claudio Sgura’s Iago, who was outstanding throughout. His Brindisi demonstrated not only strong vocal projection but also very convincing characterisation, something that was furthered in his Credo. In Act II he demonstrated the range of his dynamic palette, dropping his voice to a whisper when he told his master the (false) story of Cassio’s erotic dreams.”

David Larkin, Bachtrack

 

“But perhaps it is Italian baritone Claudio Sgura as Iago who is the most enigmatic of the three. From his early interactions with lovesick Roderigo (David Corcoran) and newly appointed captain Cassio (James Egglestone), it’s easy to see why, besides wanting to distinguish it from Gioachino Rossini's Otello, Verdi initially wanted to name the opera after the scheming adversary. In Act 2 where Sgura – long-haired, long-limbed and lean – sings the famous "Cassio’s dream" arietta, his baritone is so light and benignly tempered that the audience too is almost persuaded of Desdemona’s infidelity.”

Nicole Lee, The Guardian

 

“The Italian baritone Claudio Sgura makes for a hulking Iago with a whiff of the abyss about him from the start. It’s a warmer tone than some Iagos, but the voice is dark and strong across the range and, although he might manipulate the text a little harder, he inevitably uses it to good effect. His lovely legato singing in his dream aria is textbook. Dramatically he is a powerful presence with a disarming nonchalance at times and a sardonic brand of gallows humour. The look from heaven to hell (settling on neither) during the Credo, and the moment when he looks like he’s going to cut himself in a blood pact with Otello, only to throw the dagger contemptuously aside when he realises no-one is watching, are handled with aplomb. This Iago is empty, even in victory.”

Clive Paget, Limelight Magazine

 

“Standout of the performance was Sgura, chillingly portraying the dark, brooding villain of the piece with expertise.”

Luke Daykin, Altmedia

 

“Smoky-toned, firm-voiced baritone Claudio Sgura (Iago) captured his character’s evil heart of darkness, seamlessly switching from oily sycophancy one moment to implacable malevolence the next.”

Murray Black, The Australian

 

Tall and lean, Sgura’s Iago is intent on stealing the command of his general, with Otello’s lieutenant Cassio (James Egglestone), used as a pawn to cast doubt on Desdemona’s fidelity.

“It is clear Sgura relishes the role and, in some moments, almost steals the stage.”

Grant Jones, The Daily Telegraph

 

“Claudio Sgura was a tall, five-o'clock-shadowy Iago of masterly malevolence, singing with menacing blackness in the "Credo" of Act II ("I believe in a cruel God") and oleaginous polish elsewhere.”

Peter McCallum, The Sydney Morning Herald

 

“Italian Claudio Sgura was recruited as Iago and, judging by audience response on opening night, is likely to prove a favourite throughout the season. And for good reason. His is a self-assured, commanding baritone, with a dark chocolate power and intensity befitting his monstrously manipulative character.”

Lloyd Bradford Syke, Daily Review

 

“Claudio Sgura gave an impressive performance as Iago. His elegant, tall, trim figure moved with ease, and self-assurance. Every gesture was both contemplated and natural, his interpretation was lucid and determined and he was vocally secure and expressive. This protean monster’s Credo was both an articulate and malevolent rant. A rivetting performance.”

Jill Comerford, GBOpera

 

“Claudio Sgura’s Iago has a truly villainous appearance and stage presence. He moves through the libretto and scored numbers with great flexibility in his baritone voice. Sgura’s ‘Credo in un Dio crudel’ is a highlight. It maintained interest through the use of his voice type and physical use of the stage.”

Paul Nolan, Sydney Arts Guide

 

“Claudio Sgura sang rich voiced and malevolent as the nihilistic Iago in the trio of compelling principals.”

Shamistha de Soysa, Sounds Like Sydney

 

“Claudio Sgura as the treacherous Iago is all that he should be - duplicitous, snide, conniving and machiavellian.”

Diana Simmonds, Stage Noise

 

“Claudio Sgura changed in a second from lyricism to strength, from cajoling to shouting, from the friend to the conspirator, with a control that told the audience who was in charge of this opera.”

Nicholas Routley, Australian Stage

 

La fanciulla del West - La Scala 2016

 

"Infine si può veramente parlare di grande Claudio Sgura Musiculturaonlinestatura scenico-vocale per il baritono Claudio Sgura nella parte dello sceriffo Jack Rance che ha inaugurato nella storia interpretativa del ruolo un Rance giovane, avvenente ed emotivamente sensibile. Autorevole sulla scena in gesto e movimenti, dotato di una vocalità dal timbro abbastanza chiaro ma eloquente, ha incarnato il fulcro corale dell’opera (in fondo Rance è il simbolo di tutti coloro che desiderano Minnie, ma non possono averla) in modo elegante e impeccabile."

Musicultura Online

 

"Davvero notevolissimo il Jack Rance di Claudio Sgura, baritono dalla voce imponente e perfettamente utilizzata tanto nel canto spianato quanto in quello definibile come “declamato”.

E’ un artista totalmente immedesimato nel suo ruolo e si inserisce perfettamente nella visione registica di un certo “style” da osteria “mafiosa” tipica di inizio secolo scorso in alcune zone degli Stati Uniti."

Simone De Angeli, MTGLirica

Tosca - Turin 2016

 

"Claudio Sgura è ormai uno Scarpia perfetto in grado di mutare il portamento nobile con cui tratteggia il personaggio nel primo atto, nell'essere mostruosamente cinico, subdolo e viscido del secondo atto. La voce scura, timbrata e potente, ma soprattutto l'ottima tecnica gli consentono di superare sia le insidie di una parte che insiste spesso sul registro grave, sia i passaggi più scopertamente drammatici. Va anche detto che nei pochi momenti lirici presenti nel ruolo, in particolar modo durante "Tosca è un buon falco!... Ha più forte sapore...", Sgura ha cesellato alcune frasi da autentico belcantista."

Danilo Boaretto, Operaclick

Luisa Miller - Naples, May 2015

 

“Baritone Claudio Sgura … stands out for his pleasing, burnished timbre and fine technique.”

Sergio Palumbo, Culturaspettacolo.it

 

 

Otello - Stockholm, March 2015

 

“And we were treated to some sharply etched portraits: Jago possibly more demonic and evil than ever before… […] Claudio Sgura impressed greatly with a diabolic ‘Credo’ and a manipulative ‘Era la notte.’”

Göran Forsling, Seen and Heard International

 

"Claudio Sgura as Jago, who jumped in at short notice was a small sensation. With a Mephisto-like appearance, a dramatic, thundering baritone, and confidence in every syllable he sang, he made the character even more intelligent than he is on paper."

Claes Wahlin, Aftonbladet

 

“Even singers can be affected by illness, which in this case meant that two of the performers at the premiere were called in on a moment’s notice. One was the baritone Claudio Sgura, who sang Iago, the other the tenor Allan Clayton in the role of Cassio. Both fully delivered, not least Sgura, whose rich baritone voice and tough-guy attitude spelled triumph for the pernicious Iago.”

Michael Bruze, NT.se

 

"The important role of the intrigant Jago was sung by the Italian baritone Claudio Sgura, who was called in on short notice to replace an ill singer. He delivered Iago’s sinister mystery with honor."

Stefan Eklund, Boras Tidning

"Here we meet Kristian Benedict’s strong-voiced and coarse Otello set against Claudio Sgura’s gentlemanly, impassive Iago and Allan Clayton's spineless Cassio in an infernal game of power, love and jealousy which like a maelstrom seemed to be able to take a whole world with it - down to the most primitive form of human existence. "

Martin Nyström, DN.se

 

"The Italian baritone Claudio Sgura as Jago - diabolically deadpan.”

Per Feltzin, Sveriges Radio

 

Tosca - Rome, March 2015

 

“Claudio Sgura was a fearsome and menacing Scarpia thanks to his stage presence and particularly incisive singing in the declamatory parts....”

Mauro Mariani, Opera Actual

 

"Claudio Sgura's Scarpia was excellent. His voice, which combines a burnished tinge with a brass instrument's ring, lends itself well to the character's vindictive and hypocritical ferocity. The libidinously black phrasing with which he sculpted the words preceding the ‘Te Deum’ was unforgettable. He owned the second act. His acting captured all the bald-faced impertinence of a tyrant and the sinister violence of an extortionist, and he sang his creed brilliantly (‘Stronger is the relish of violent conquest’)."

Stefano Ceccarelli, L'ape musicale

 

"...baritone Claudio Sgura, a tremendous Scarpia, as much physically as vocally."

Ansalatina.com

 

"As Scarpia, Claudio Sgura proved to be a voice of importance, authoritative and rich in harmonics."

Paralipomena di Marco Pizzi

 

Tosca - Sydney 2015

 

“… Sgura’s elegant, cold-blooded Scarpia was scorching.”

Deborah Jones, Opera

 

“The role of Scarpia was occupied with chilling menace and immense presence by the hugely talented Italian baritone Claudio Sgura.

Tall and slim in fascist uniform (the production is set in 1940s Rome), he appeared to revel in his power, often displayed with a disturbing nonchalance, driven by a dark sexuality.

In one scene, he molests his helpless secretary, watched by his minions, enjoying her disgust and helplessness.”

Tom Pillans, Daily Telegraph

 

“Claudio Sgura was introduced to Sydney audiences last year as a memorable Iago and he returns to sing another arch-villain, Scarpia. Sgura brings a full, rich, dark baritone to the role. His looming physical presence oozes menace... .”

Larry Turner, Sounds Like Sydney

 

“Claudio Sgura (a fine Iago in last year’s Otello) makes a magnificently dark Scarpia, singing with subtlety, volume, and well-centered, black-as-pitch tone. ... he plays the gallant well to inflame Tosca’s jealousy in Act I and the villainy does come into its own in Act II where his scenes with Ecahlaz are the opera’s absolute highpoint.”

Clive Paget, Limelight Magazine

 

“As for Claudio Sgura's Scarpia, the combination of his tall imperious hauteur, the unyielding hard edge of his voice and his forceful power gave the character an aura of implacable malevolence.”

Peter McCallum, The Sydney Morning Herald

 

“Stealing much of his limelight is Claudio Sgura’s formidable Scarpia. Few singers manage to match the authority as that signified by the leitmotif which announces Scarpia’s arrival, but Sgura brings a steady consistency and the fearsome, pitch-black tone required.”

Ben Neutze, Crikey Daily Review

 

“Claudio Sgura creates the sleazy, power driven Baron Scarpia with delicious psychopathic looks and dark determination, all foreshadowed by Pucini's ominous signalling of his entrances.”

Jade Kops, Broadwayworld.com

 

TOSCA – Cagliari 2014

 

“The protagonists are up to their roles, led by the Scarpia of baritone Claudio Sgura, who adds composure and nobility of presence, magnified by his imposing, almost hieratic, figure, to the elegance of phrasing and perfect technical control enhanced by the sumptuousness of his sound.”

L’Opera, December 2014

 

"Finally, Claudio Sgura was an excellent Scarpia, both for his stage presence…with a certain histrionic touch appropriate to this prince of evil, and above all for the absolute mastery and vocal perfection in his portrayal of so unsettling a character, an incarnation of vice and vileness that at the same time remains fascinating, as Puccini thoroughly describes in the score."

Anna Brotzu, Opera World

 

"... Claudio Sgura’s Scarpia demonstrated an excellent stage presence through his acting, his imposing “physique du rôle,” and his intense, incisive, and refined vocalism."

Gabriele Balloi, La Nuova Sardegna

 

“It was certainly the dark timbre of Claudio Sgura, an effective Baron Scarpia, that elicited the audience's most excited applause. As the psychologically complex and fascinating anti-hero, he displayed both sensuality and cool detachment in his acting, becoming the character so symbolic of the “French noir” effect desired by Visconti’s heir [Alberto Fassini, upon whose idea was based the staging by director Joseph Franconi Lee.]."

Sardinia Post

 

"Il protagonista della serata è stato però lui, Scarpia, interpretato dal baritono Claudio Sgura, assolutamente calato nel personaggio: ottima presenza scenica e ottimo timbro scuro e brunito, perfettamente modulato in base alle esigenze espressive e di volume."

Francesca Mulas, Cagliari Globalist

 

"... un cast di primo livello, dominato dalla vocalità torrenziale e dalla figura imponente del baritono Claudio Sgura, artista nel pieno della maturità, legittimamente accreditabile come il degno prosecutore della grande tradizione dei baritoni drammatici italiani. Dotato di un timbro scuro e potente, Sgura sceglie di obliterare la dimensione di Scarpia “sbirro buono” per esaltare i caratteri spietati del satiro impunito e senza scrupoli: il “Te Deum” si traduce così in un’autentica esplosione di ipocrita perfidia e di desideri inconfessabili, la scena della tortura in una terribile ordalia di note, sangue e passioni senza freno."

Carlo Dore jr., Operaclick News

 

 

Lucia di Lammermoor – Treviso 2014

 

"The charisma of the primadonna was shared by the lower voices of the company, with Claudio Sgura in particular distinguishing himself. The baritone depicted a grim and severe Enrico through direct, full-bodied singing, never without perfect composure."

Giovanni Andrea Sechi, L'ape musicale

 

"Sul palcoscenico ha conquistato la scena con piglio sicuro ed impassibile il Lord Ashton di Claudio Sgura, personalità prorompente che si estrinseca anche tramite un timbro vocale importante e brunito dall’ottimo volume."Maria Teresa Giovagnoli, MTG Lirica

Otello - Sydney 2014

 

 

“My favourite singer on the night was Claudio Sgura’s Iago, who was outstanding throughout. His Brindisi demonstrated not only strong vocal projection but also very convincing characterisation, something that was furthered in his Credo. In Act II he demonstrated the range of his dynamic palette, dropping his voice to a whisper when he told his master the (false) story of Cassio’s erotic dreams.”

David Larkin, Bachtrack

 

“But perhaps it is Italian baritone Claudio Sgura as Iago who is the most enigmatic of the three. From his early interactions with lovesick Roderigo (David Corcoran) and newly appointed captain Cassio (James Egglestone), it’s easy to see why, besides wanting to distinguish it from Gioachino Rossini's Otello, Verdi initially wanted to name the opera after the scheming adversary. In Act 2 where Sgura – long-haired, long-limbed and lean – sings the famous "Cassio’s dream" arietta, his baritone is so light and benignly tempered that the audience too is almost persuaded of Desdemona’s infidelity.”

Nicole Lee, The Guardian

 

“The Italian baritone Claudio Sgura makes for a hulking Iago with a whiff of the abyss about him from the start. It’s a warmer tone than some Iagos, but the voice is dark and strong across the range and, although he might manipulate the text a little harder, he inevitably uses it to good effect. His lovely legato singing in his dream aria is textbook. Dramatically he is a powerful presence with a disarming nonchalance at times and a sardonic brand of gallows humour. The look from heaven to hell (settling on neither) during the Credo, and the moment when he looks like he’s going to cut himself in a blood pact with Otello, only to throw the dagger contemptuously aside when he realises no-one is watching, are handled with aplomb. This Iago is empty, even in victory.”

Clive Paget, Limelight Magazine

 

“Standout of the performance was Sgura, chillingly portraying the dark, brooding villain of the piece with expertise.”

Luke Daykin, Altmedia

 

“Smoky-toned, firm-voiced baritone Claudio Sgura (Jago) captured his character’s evil heart of darkness, seamlessly switching from oily sycophancy one moment to implacable malevolence the next.”

Murray Black, The Australian

 

Tall and lean, Sgura’s Jago is intent on stealing the command of his general, with Otello’s lieutenant Cassio (James Egglestone), used as a pawn to cast doubt on Desdemona’s fidelity.

“It is clear Sgura relishes the role and, in some moments, almost steals the stage.”

Grant Jones, The Daily Telegraph

 

“Claudio Sgura was a tall, five-o'clock-shadowy Jago of masterly malevolence, singing with menacing blackness in the "Credo" of Act II ("I believe in a cruel God") and oleaginous polish elsewhere.”

Peter McCallum, The Sydney Morning Herald

 

“Italian Claudio Sgura was recruited as Jago and, judging by audience response on opening night, is likely to prove a favourite throughout the season. And for good reason. His is a self-assured, commanding baritone, with a dark chocolate power and intensity befitting his monstrously manipulative character.”

Lloyd Bradford Syke, Daily Review

 

“Claudio Sgura gave an impressive performance as Iago. His elegant, tall, trim figure moved with ease, and self-assurance. Every gesture was both contemplated and natural, his interpretation was lucid and determined and he was vocally secure and expressive. This protean monster’s Credo was both an articulate and malevolent rant. A rivetting performance.”

Jill Comerford, GBOpera

 

“Claudio Sgura’s Jago has a truly villainous appearance and stage presence. He moves through the libretto and scored numbers with great flexibility in his baritone voice. Sgura’s ‘Credo in un Dio crudel’ is a highlight. It maintained interest through the use of his voice type and physical use of the stage.”

Paul Nolan, Sydney Arts Guide

 

“Claudio Sgura sang rich voiced and malevolent as the nihilistic Jago in the trio of compelling principals.”

Shamistha de Soysa, Sounds Like Sydney

 

“Claudio Sgura as the treacherous Jago is all that he should be - duplicitous, snide, conniving and machiavellian.”

Diana Simmonds, Stage Noise

 

“Claudio Sgura changed in a second from lyricism to strength, from cajoling to shouting, from the friend to the conspirator, with a control that told the audience who was in charge of this opera.”

Nicholas Routley, Australian Stage

 

Tosca - Melbourne 2014

 

“As Scarpia, Italian Baritone Claudio Sgura plumbs the depths of Bell’s depiction of absolute evil. Driven by sexual desire from which no woman is safe, he gropes and fondles his hapless secretary in view of his colleagues, revelling in her disgust and helplessness. Mr Sgura has a massively powerful and rich voice. He soars above the Te Deum and whispers his threats to Tosca in Act 2 as gently as a lover. This character is magnificently realised.”

Gregory Pritchard, Concertonet

 

“The weighty, spine-tingling Scarpia chords that open Tosca have prompted John Bell to wonder whether Puccini’s opera should perhaps be called Scarpia. This musical representation of one of opera’s nastiest villains certainly casts an ominous shadow over what is to follow. Repulsive as the character is, Scarpia is a plum role for baritones. Already an internationally seasoned Scarpia, Claudio Sgura** adds this role to Verdi’s similarly jealousy-mongering Iago for Opera Australia. Dressed in uniform and with slicked-back raven hair and a pallor that had something of the vampire about it, he was an intimidating sight. The nonchalant way he wielded power as Chief of Police, and the way he revelled in the fear he was able to generate in others, he personified sadism. In Act 1 he was presented as a hypocrite and ruthless manipulator; in Act 2 his menacing quality was intensified by the presence of his henchmen, while the sole uniformed woman sat rigid with fear and apprehension. Sgura’s rich, essentially beautiful baritone was shaded to match his convincing portrayal of a monster; after witnessing his perverted appetites we empathised with Tosca as she willed him to die.”

Heather Leviston, Classic Melbourne

 

“Sgura is deliciously diabolical and sings powerfully, grounding the scene in ways the other leads never quite do.”

Jason Whittaker, Daily Review

 

“... the voice was rich, menacing and turbo-charged.”

Paul Selar, Bachtrack

 

“... Scarpia – rightly realised by Claudio Sgura as suavely menacing rather than brutish... .”

Barney Zwartz, Sydney Morning Herald

 

“Claudio Sgura’s Scarpia was pure psychopathic monster. He had immense presence and not a hint of charm or shame to complicate him. Sgura’s voice is [...] expressive and formidable.”

Anna McAlister, Herald Sun

 

“Having made a striking impact as Iago in Otello in Sydney in July this year, Italian baritone Claudio Sgura again displays his magnetic presence, charismatic acting skills and thrilling voice in his Melbourne debut. No oily villain, Scarpia is portrayed a lustful man in the prime of life and power who fully believes that pleasure and domination are his natural right. Sgura’s towering height adds to his menace, and his lean, virile stature significantly heightens his sexual menace.”

Simon Parris

 

“Claudio Sgura was a menacing Scarpia. His big voice was beautifully produced and his height allowed him to command the stage.”

Graham Ford, Stage Whispers

Melos Opera Srl
Markus Laska, Serena Marchi, Silvia Paolucci 
Via Kennedy n. 83
40068 San Lazzaro di Savena (BO) - Italia

http://www.melosopera.com
E-mail: info@melosopera.com
Telefono: +39 051 455395

Segui Claudio Sgura su:
  • Facebook Social Icon
  • Instagram Icona sociale
  • YouTube Social  Icon