Reviews

“José Carbó’s Giorgio Germont has grown in stature since he first took on the role.   The voice is steady and full at the top, flinty and authoritative lower down. His beautifully phrased Di Provenza il mar is easy and smooth as butter matched by his eloquent Pura siccome un angelo. The twists and turns of the long Act II scene with Violetta (Ermonela Jaho) find two consummate singing-actors sparring hypnotically, their voices blending sensitively as they come to their poignant mutual understanding.”   

Limelight Magazine

“José Carbó reprises the role of Giorgio Germont, cementing his reputation as Australia’s leading Verdi lyric baritone. Singing with firm tone and sporting some fine top notes he delivers one of the finest renditions of the deceptively demanding Di Provenza il mar that I can recall. Dramatically too he captures the character’s essential gravitas while negotiating his complex psychological journey from self-centred bourgeois to remorseful father and friend.”   

Limelight Magazine

“Giorgio Germont, Helpmann Award-winning baritone Jose Carbo, is a particular standout. That the garden scene (duet between Violetta and Germont) outshone all the scenes between Violetta and her lover Alfredo, is indicative of Carbo’s talent and stage charisma (his curtain-call applause is the proof of the pudding).”    

Time Out, Sydney

“It was left to clear-voiced, warm-toned baritone José Carbó as Giorgio Germont to deliver the evening’s most satisfying performance.”     

The Australian

“The shining star in the vocal department is José Carbó, whose smooth, rich, dark chocolate, effortless baritone couldn’t have acquitted better. “    

Crikey, La Traviata

“José Carbó dominated the male performances as a rich baritone Rodrigo”. 

The Australian

“But my favourite performer of the evening was José Carbó. In Cavalleria Rusticana he is the confident baritone, his fierce anger somewhat controlled and channelled into his deep voice and sharp eyes. In Pagliacci he opens our Prologue – charismatically explaining the truth in the events about to unfold, demonstrating costumes, drawing fake blood, and entreating on us “rather than dwelling on costume, (to) consider our souls”. He then becomes the limping Tonio who is repulsive yet keeps that warm baritone. My eyes were drawn to Carbó whenever he was on stage.”    

The AU Review

“Baritone José Carbó​ moves from suave confidence as the betrayed husband Alfio in Cavalleria, to the twisted moral perversions of the cripple Tonio in Pagliacci, making the transition with a peerless Prologue, sung with polished and glowingly powerful cantabile.”    

Sydney Morning Herald

“Carbó is on fine form, singing a really sensitive Prologo with some terrific top notes.”    

Limelight Magazine, Cavelleria Rusticana/Pagliacci