José Carbó as Germont, La Traviata with Ermonela Jaho as Violetta
Image by Keith Saunders
“It was left to clear-voiced, warm-toned baritone José Carbó as Giorgio Germont to deliver the evening’s most satisfying performance.”
“José Carbó dominated the male performances as a rich baritone Rodrigo.”
“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.”
"The leads’ performances were noticeably lifted by the arrival of José Carbó in Act 2. He adroitly balanced Giorgio’s sympathy and self-righteousness, and his baritone was like smooth, burnished mahogany. Carbó’s moving Di Provenza il mar was the evening’s highlight"
“Carbó’s performance as Scarpia was the standout of the night. His chillingly charismatic take on the Chief of Police was helped by his incredibly beautiful voice, which almost seemed to contrast with the character’s corruption and malice. His lust for Tosca was deeply unsettling, and their chemistry was perfectly disturbing.”
“José Carbó is very strong in this role, his rich baritone easily carrying over an orchestra.”
Australian Stage (Scarpia, Opera Queensland 2019)
"Sumi Jo’s co-star for this recital was an inspired choice and a huge success with the audience. Argentinian-Australian baritone José Carbó is equally at home in the demanding Verdi baritone repertoire or lightly nuancing an art song or popular ballad. His diction in all languages is brilliant and engaging, with rich yet crystal clear tone that resonates easily throughout the auditorium at any dynamic. Added to this he has a charisma and elegance that lent both charm and gravitas to the recital."
“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.”
"Baritone José Carbó is an immediately credible Giorgio. Mr Carbó is as strong an actor as he is a wonderful singer. This desperate father means no ill will despite representing the double standards of the patriarchal society, he simply wants the best for his family and throughout Mr Carbó’s performance we are committed to this belief. His voice is rich and dark; it penetrates powerfully while maintaining warmth of tone which endears this character to us."
“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.”
“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
“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
“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.”
“Carbó is on fine form, singing a really sensitive Prologo with some terrific top notes.”
Limelight Magazine, Cavelleria Rusticana/Pagliacci