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 Dušica BijelićSusanna BranchiniScilla CristianoElena KelessidiDimitra KotidouLucie KaňkováHye-Youn LeeJulie Martin du TheilIrina NovikovaCristiana OliveiraEkaterina SadovnikovaAnna StylianakiLetitia VitelaruElena Zelenskaya Karina KheruntsLarisa KostyukClaudia MarchiVictoria Yarovaya Martina Mikelic Arnold BezuyenLuciano BotelhoLuis GomesDeniz LeoneDimitris PaksoglouAngelos Samartzis Marcin BronikowskiMichel de SouzaAnooshah GolesorkhiGyula NagyDimitri Platanias Davide Damiani Tiziano BracciLuiz-Ottavio FariaJihoon Kim |
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 Born in Greece, he is now recognised as one of the foremost Verdi Baritones of the younger generation. Winning the Alexandra Trianti Scholarship enabled him to study in Italy under Masako Tanaka Protti and at the showcase concert for the winners of this bequest, Rodney Milnes said in Opera Magazine: The most impressive singer was the baritone Dimitris Platanias, who on this showing could sing Rigoletto anywhere in the world: beautifully warm, heroic tone, a dynamic range from forte to a pianissimo that lost nothing in colour or substance, musicianship and instinctive feeling for text – a name to watch out for in the current dearth of Verdi baritones. He went on to make his debut at Greek National Opera and his first appearance in Italy as Gerard ANDREA CHENIER. His debut at La Fenice di Venezia was as RIGOLETTO, a role that he has since made his own and it was as RIGOLETTO that he made his highly acclaimed debut at the Royal Opera Covent Garden, leading Richard Morrison of The Times to say: ...and the stunning Greek baritone Dimitri Platanias, making his Covent Garden debut. As for Platanias, I have rarely heard the title role sung with such gloriously sustained tone and line, or such thrilling power….a voice that I would like to hear much more. A most gifted linguist, he is noted not just for the splendour, rich timbre and beauty of his voice, but also for his insightful interpretations of the characters he portrays. His appearance as RIGOLETTO in concert with the London Symphony Orchestra under Gianandrea Noseda was greeted with great enthusiasm, leading Hugh Canning The Sunday Times to write: Platanias, meanwhile must now be the great white hope among younger Verdi baritones. Debuts followed at the Bayerische Staatsoper as SIMON BOCCANEGRA, where he also returned for the title role of NABUCCO and Montfort LES VÊPRES SICILIENNE. His debut in the role of STIFFILIO at Teatro La Fenice, was repeated at Oper Frankfurt where he also appeared as Iago OTELLO and Scarpia TOSCA. At the Osterfestspiele Salzburg he appeared as Tonio I PAGLIACCI (released on DVD) and his debut at Palau de les Arts Reina Sofia was as NABUCCO. He combined both Alfio CAVALLERIA RUSTICANA and Tonio I PAGLIACCI at the Royal Opera Covent Garden (released on DVD) to much acclaim and repeated these two roles for his USA debut at San Francisco Opera. The San Francisco Chronicle said: and Platanias, whose singing as the malevolent Tonio and especially in the opera’s prologue – displayed a wondrous new fluency and luster, James Ambroff-Tahan of the San Francisco Examiner called him: the smoldering baritone Dimitri Platanias, who was making his SFO debut and Opera Warhorses referred to the I Pagliacci Prologue as spectacularly sung by Platanias. He returned to the Concertgebouw Amsterdam for an outstanding SIMON BOCCANEGRA and to ROH Covent Garden again for RIGOLETTO, streamed in cinemas internationally, made his debut at Teatro Maggio Musicale Fiorentino as NABUCCO and he returned to Théâtre Royal de la Monnaie for Alfio CAVALLERIA RUSTICANA. His debut at the Hamburgische Staatsoper was as MACBETH and he returned to sing NABUCCO in the challenging production by Kirill Serebrennikov. He made his debut at Teatro Real Madrid as Conte di Luna IL TROVATORE and enjoyed an outstanding success at ROH Covent Garden as Gérard ANDREA CHENIER, about which Richard Morrison of The Times wrote: … it’s a showcase for great voices. And here you get one firing on all cylinders. Unfortunately, it doesn’t belong to the two lovers. It’s the Greek baritone Dimitri Platanias, singing with magnificent clarity and passion as the conflicted Gerard, a Scarpia with a conscience, and Ditlev Rindom of Opera Magazine praised him as follows: Dimitri Platanias gave one of his most committed London performances yet as Gérard, marrying his always rock-steady baritone to increasing levels of introspection. “Nemico della patria” was rightly a highlight, propelled by Platanias’s excellent breath control and his sure sense of scale. He made a return to ROH Covent Garden as Giorgio Germont La Traviata and Colin Clarke of Seen and Heard International called it: A masterclass in vocal acting – really, it was all there in his fabulous, strong voice. And Sam Smith of OperaOnLine said His baritone is masterly and his performance of ‘Di Provenza il mar, il suol chi dal cor ti cancellò?’ particularly appealing. Dimitri Platanias appears regularly with Greek National Opera at the Stavros Niarchos Foundation Cultural Center, the Odeon of Herodes Atticus and at the Megaron Athens in both opera and concert. Roles performed:
Concerts include: Joseph L’ENFANCE DU CHRIST (Megaron); Mephistopheles, Boser Geist, Pater Seraphicus SZENEN AUS GOETHES FAUST (Megaron); CARMINA BURANA (Megaron, Thessaloniki); MOZART - CORONATION MASS (Corfu). Gunther GÖTTERDÄMMERUNG (Megaron – Concert form); BRAHMS -EIN DEUTSCHES REQUIEM (Megaron); FAURÉ - REQUIEM (Greek National Opera); MENDELSSOHN - DIE ERSTE WALPURGISNACHT (Odeon of Herodes Atticus); WIGMORE HALL RECITAL in the Rosenblatt Recitals Series. Conductors and Directors with whom he has worked include: Martin Andre; Philippe Auguin; Maurizio Benini; Bertrand de Billy; Giuliano Carella; Paolo Carignani; Myung Wun Chung; Giuseppe Finzi; Riccardo Frizza; James Gaffigan; John Eliot Gardiner; Leo Hussain; Alexander Joel; Lukas Karytinos; Axel Kober Nicola Luisotti; Gianluca Martinenghi; Diego Matheuz; Myron Michailidis; Carlo Montanaro; Pier Giorgio Morandi; Gianandrea Noseda; Daniel Oren; Antonio Pappano; Renato Palumbo; Evelino Pidò; Carlo Rizzi; Daniele Rustioni; Nello Santi; Giovanni di Stefano; Christian Thielemann. Daniele Abbado; Robert Carsen; Johannes Erath; Rudolf Frey; Yannis Kokkos; Stephen Langridge; David McVicar; Jakob Peters-Messer; Damiano Michieletto; Elija Moshinsky; Leo Muscato ; Nikos Petropoulos; Philip Stölzl; Graham Vick. Recordings: PAGLIACCI: DVD Osterfestspiele Salzburg, cond. Christian Thielemann – Sony Unitel Classica; CAVALLERIA RUSTICANA PAGLIACCI: DVD ROH Covent Garden, cond. Antonio Pappano - Opus Arte. Reviews: • LA TRAVIATA – Royal Opera House Covent Garden - 2022 Seen and Heard International - Colin Clarke – 3rd April 2022 It was Dimitri Platanias’s Giorgio Germont that was the only other role that came anywhere near Yende’s Violetta. An experienced singer, Platanias succeeded spectacularly in making us dislike Germont père‘s manipulations in the second act; and when it came to the final act, one could see that although the words were coming out that he saw the error of his ways, there was still an internal struggle going on in there. A masterclass in vocal acting – really, it was all there in his fabulous, strong voice. OperaonLine - Sam Smith - 5th April 2022 Portrayals of Germont can range from making him totally harsh and expectant to making him highly sensitive and completely heartbroken at the sacrifice Violetta is making for him. Most opt for a point somewhere between these two extremes but the cleverness in Dimitri Platanias’s interpretation is that he gives so little away, and in doing so tells us everything we need to know so that we see the full range of facets to his character. As Violetta continues to plead with him to let Alfredo know of her sacrifice, he looks as if he just wants to get out of the place. However, this is not necessarily because he is callous now that he has got what he wanted and maybe because he genuinely finds it too painful to hear of her plight. His baritone is masterly and his performance of ‘Di Provenza il mar, il suol chi dal cor ti cancellò?’ particularly appealing. * * *
• ANDREA CHENIER – Greek National Opera (GNO TV) streamed spring 2021Olyrix - 4/04/2021 Révolutionnaire Classique : Andrea Chénier inaugure le Bicentenaire à l'Opéra National de Grèce En valet Carlo Gérard, Dimitri Platanias assume l'air intense qui ouvre l'opéra (juste après la courte intervention processionnelle du Majordome Marinos Tarnanas), de sa voix ample et robuste quand elle lance ses accents mais parfois un peu trop largement assise, quoique toujours avec grande aisance. De même et pour compenser, le chant et les paroles sont très articulés mais quelques syllabes sont jetées en-dehors et au-delà des lignes. Toutefois, son ascension (avec les révolutionnaires) est tout autant politique que vocale, ses qualités de chant se coordonnant de plus en plus pour renforcer la bravoure de sa prestation. Opera Online - Thibault Vicq (tv.nationalopera.gr, mars 2021) Premier arrêt opératique insurrectionnel sur la scène du GNO Stavros Niarchos Hall : Andrea Chénier, le grand succès d’Umberto Giordano ancré dans la Révolution française et la Terreur, filmé à la fin du mois de janvier. Les trois interprètes principaux y sont toujours attendus au tournant ; mission superbement accomplie pour Marcelo Álvarez, Maria Agresta et Dimitri Platanias ! Le tour de passe-passe de Carlo Gérard est assuré par Dimitri Platanias, qui ne connaît que le beau dans ses émissions. Comme à la Royal Opera House en 2019, le baryton grec respire le confort d’élans véristes où la force produit sa sève dans l’orientation de la voix plutôt que dans sa densité. La longévité du souffle fait effectivement toute la différence : la rondeur de l’approche au son sculpte une série de notes qui trouvent parfaitement leur place les unes après les autres, sans hachures, sans angles. L’humanité « empêchée » et l’amertume coupable du personnage s’illustrent pour le meilleur à chaque instant. Il semble tirer un peu plus sur la fin, mais n’est-ce pas dans l’esprit du personnage? ForumOpera.com - Yves Beuvard - 02 Avril 2021 - Andrea Chénier – Athènes Un trio de très grandes voix, dont on ne sait par qui commencer tant leurs qualités et leur engagement sont équivalents : Gérard, le plus complexe, est l’imposant Dimitri Platanias, familier du rôle (Voix grand format). Ses moyens vocaux exceptionnels, la sobriété de son jeu, tout emporte l’adhésion. De son premier air, « Son sessant’ anni », jusqu’à son ultime intervention, en n’oubliant pas sa pulsion « Perchè ti volli qui ? », son évolution psychologique est servie magistralement. Wanderer – Claire-Marie Caussin – 31st Mars 2021 D’Une revolution l’autre. Face à elle, Dimitri Platanias est un Gérard taciturne et solide vocalement, parfois un peu livré à lui-même en termes de direction d’acteurs, mais qui déploie par moments de beaux éclats dramatiques comme à la fin du « Nemico della patria » – et on se demande alors un peu ce que fait là un figurant lisant le journal, comme si de rien était, en arrière-plan. ResMusica - Patrice Imbaud – Le 1 avril 2021 Par un juste retour des choses, c’est à Athènes, sur la terre matricielle de la démocratie, que l’Opéra national de Grèce commémore en 2021 le bicentenaire de la Révolution grecque avec cette production d’Andrea Chénier d’Umberto Giordano reposant sur un trio vocal associant Marcelo Álvarez, Maria Agresta et Dimitri Platanias... Indiscutable titulaire du rôle, de Covent Garden à la Scala, Dimitri Platanias donne à son Gérard toute l’autorité, la jalousie et le remord nécessaires par son baryton puissant, profond et coloré. * * *
• GIOVANNA D'ARCO – Théâtre Royal de la Monnaie – October 2019OperaOnline - Emmanuel Andrieu - 12th October 2019 A leurs côtés, le baryton grec Dimitri Platanias campe un Giacomo de haut vol. Avec son cantabile d'une grande noblesse et son phrasé souverainement raffiné, il offre une incarnation bouleversante de son personnage. Olyrix - Soline Heurtebise - 15th October 2019 Dimitri Platanias campe de son côté un Giacomo très assis, sûr et d'une profondeur de voix baryton sombre et serrée. Guttural et prononçant un accent italien folklorique, le rôle de Giacomo raisonne avec une grâce sûre, très opératique et enveloppée. ForumOpera.com - Camille de Rijck - 12th October 2019 Dimitri Platanias dans un emploi dont l'étendue dramaturgique pourrait être résumée sur la face pile d'un timbre-poste parvient à tirer son épingle du jeu : par la ferveur de son chant, les couleurs de son instrument et ces aigus faciles qui semblent s'échapper de cet immense corps sans le moindre effort. * * *
• ANDREA CHENIER – ROH Covent Garden – May/June 2019The Times – Richard Morrison – 21st May 2019 Of course, nobody comes to Andrea Chénier for historical verisimilitude. A lush musical carpet of late romanticism, spiced by a few gavottes and military tunes, it’s a showcase for great voices. And here you get one firing on all cylinders. Unfortunately, it doesn’t belong to the two lovers. It’s the Greek baritone Dimitri Platanias, singing with magnificent clarity and passion as the conflicted Gerard, a Scarpia with a conscience. Opera Magazine – Ditlev Rindom - August 2019 Dimitri Platanias gave one of his most committed London performances yet as Gérard, marrying his always rock-steady baritone to increasing levels of introspection. “Nemico della patria” was rightly a highlight, propelled by Platanias’s excellent breath control and his sure sense of scale. The Telegraph – Rupert Christiansen – 21st May 2019 Similarly impressive was Dimitri Platanias as the majordomo-turned-Jacobin Gérard: his incisive baritone shaped his tormented third-act monologue “Nemico della patria” with exemplary style. OperaOnline - Sam Smith – 25th May 2019 The three central performances are extremely strong, and really help to make the night what it is. Even within this, however, the highest accolades go to Dimitri Platanias as Gérard whose baritone combines absolute strength and security with an ability to convey immense sensitivity. He takes the stage by storm when he defies the Contessa by throwing off his servant’s livery in Act I, and in Act III has the charisma to make us believe that he could persuade women to part with their treasures and sons for the revolutionary cause when others before him have failed. However, in ‘Nemico della patria?!’ we see just how sickened he has become at the thought that he is framing Chénier for the sake of his own passions. Express – William Hartston – 23rd May 2019 The part of Gérard is taken by Greek baritone Dimitri Platanias whose deep, powerful voice is gloriously resonant in Giordano's sumptuous arias. LondonBoxOffice.co.uk – Stuart King – 22nd May 2019 Dimitri Platanias on the other hand, delivered Nemico della patria as well as you’ll hear on any recording. Independent – Michael Church – 21st May 2019 But Alagna is also supported by two outstanding singers in the other key roles. The Greek baritone Dimitri Platanias brings nobility to the character of Carlo Gérard, a rival in love who wrestles with his republican conscience over whether to shop Chénier. Opera Today – Claire Seymour - 22nd May 2019 Dimitri Platanias communicated all of the footman (and rival of Chénier) Carlo Gérard’s complexity and inner struggles with conflicting loyalties and motives. His manner was a little rugged, but that’s probably true to the role. Platanias had the rawness of an Iago in the more declamatory episodes, while in ‘Nemico della patria’ the baritone wrung every drop from every note. Culture Whisper – Claudia Pritchard – 21st May 2019 Greek baritone Dimitri Platanias as the sinister Gérard is a guilty pleasure, digging deep into a black heart Bachtrack – Mark Pullinger – 21st May 2019 Greek baritone Dimitri Platanias sings Carlo Gérard, the servant who throws off his livery to join the revolution, wonderfully. He has a rich, juicy sound and his monologue “Nemico della patria”, where Gérard pens his indictment of Chénier, is fabulously delivered. Londonist - Holli-Mae Johnson – 21st May 2019 Dimitri Platanias agonises between desire and duty as Gerard, the jaded footman-turned revolutionary, delivering a splendid aria in Act 3. BWW Review – Gary Naylor – 21st May 2019 Platanias brilliantly expresses Gérard's torment in "Nemico della Patria" Evening Standard – Barry Millington – 21st May 2019 No less tortured are the conflicted emotions of the footman-turned-Jacobin Gérard, sung here with steely determination and fervour by Dimitri Platanias. Sunday Times Culture – Hugh Canning – 26th May 2019 He is superbly partnered by Sondra Radvanovsky as the self-sacrificial Maddalena di Coigny, and by Dimitri Platanias, doing a good imitation of an Italian dramatic baritone as the lower-born love rival, Carlo Gérard. The Upcoming – Shawna Warmington-Brown – 22nd May 2019 Greek baritone Dimitri Platanias as Carlo Gérard is also a pleasure, grounded throughout in both his physicality and vocals. Res Musica – Patrice Imbaud - 28th May 2019 Dimitri Platanias dans le rôle de Gérard complète cet inoubliable trio, donnant toute sa mesure dans le III qui n’est pas sans rappeler Tosca de Puccini. Tout ici sonne juste, le geste et la note dans un véhément « Nemico della patria ». Le timbre est rond, la tessiture large, le legato bouleversant et le jeu convaincant, mêlant noblesse, fureur, amour, jalousie et finalement remords. Plays To See - Tim Hochstrasser – 28th May 2019 He is well matched by baritone Dimitri Platanias who brings a brooding intensity to his singing as well as a real menace in his predatory scene with Maddalena, the point at which Act Two of ‘Tosca’ seems nearest at hand. The Article – Mark Ronan – 21st May 2019 It generated thunderous applause, as there had been shortly before for Dmitri Platanias as Gérard, in his cri de coeur against the wrong turn the Revolution is taking in condemning to death a man like Chénier on trumped up charges. The Sun Best.com – 23rd May 2019 The part of Gérard is taken by Greek baritone Dimitri Platanias whose deep, powerful voice is gloriously resonant in Giordano’s sumptuous arias. Le Salon Musicale - Thomas Gobbetti – 31st May 2019 Ottima anche la prestazione di Dimitri Platanias nei panni di Gérard. La potenza vocale del baritono greco conquista il pubblico nella famosa aria “Nemico della patria”. Il boato più caloroso agli applausi finali sarà per lui. WestEndExtra –Michael White - 7th June 2019 And instead the laurels go to two singers you may not have heard of but who give the performances of their lives: Greek baritone Dimitri Platanias as Gerard, the tough revolutionary who turns out to have a conscience... Olyrix – Mark Everist – 10th June 2019 Carlo Gérard et le rôle-titre sont rarement absents de la scène pendant toute la soirée, Dimitri Platanias et Roberto Alagna offrent leurs intenses et endurantes qualités communes avec la Maddalena de Radvanovsky.Le puissant baryton de Dimitri Platanias sait changer de registre avec agilité, en écho au zèle ardent du révolutionnaire engagé, et de "Nemico della patria" dans l'acte III où il cède aux passions moins nobles et doit affronter la réalité de ses actions. Ces deux airs chantés à l'avant de la scène sans aucune action scénique sont couronnés par des applaudissements du public interrompant le spectacle. * * *
• LES VEPRES SICILIENNES - Bayerische Staatsoper MünchenI Klassik Begeistert - Der Klassik-Blog -Andreas Schmidt – 23rd November 2018 In der anderen Tiefstimmenrolle des Guy de Montfort begeistert der griechische Bariton Dimitri Platanias. Mit seinem warmen, dichten Bariton singt er ganz wunderbar und verkörpert sowohl die väterliche Liebe als auch das kompromisslose Herrschen auf hervorragende Art und Weise. * * *
• CAVALLERIA RUSTICANA & I PAGLIACCI - San Francisco Opera - September 2018San Francisco Chronicle - Joshua Kosman 8th September 2018 ...and Platanias, whose singing as the malevolent Tonio – and especially in the opera’s prologue – displayed a wondrous new fluency and luster. San Francisco Examiner - James Ambroff-Tahan 10th September 2018 ...the smoldering baritone Dimitri Platanias, who was making his SFO debut. Opera Warhorses - William on September 26, 2018 in 2005-2018: William’s Reviews Review: A Second Look at San Francisco Opera’s “Pagliacci” – September 16, 2018 Recognizing that Leoncavallo’s (and “Cavalleria” composer Mascagni’s) appearance is a curiosity of Cura’s production, I found it effective (and spectacularly sung by Platanias). Theatrius - Pamela Feinsilber - 19th September 2018 The only singer with a large role in both operas is the charismatic baritone Dimitri Platanias, as Alfio, the cuckolded husband in “Cavalleria,” and Tonio, the malevolent clown in “Pagliacci.” I certainly hope that he—and in fact all these magnificent performers—will be in San Francisco again soon. Opera Warhorses – William (William’s Reviews) - 9th September 2018 As "Cavalleria’s" Alfio, Platanias delivered what is required of the role – a strong baritone voice that, in a few phrases, makes clear the inner outrage the character feels at the insult to his honor in a community in which one’s honor is crucial to his persona…..Greek baritone Dimitri Platanias wonderfully sang “Pagliacci’s” famous Prologue, dressed as Ruggiero Leoncavallo, the opera’s composer, in a period suit. Platanias gave a gripping portrait of the sinister Tonio, whose reaction when Nedda rejects his unwanted advances was to alert the dangerously jealous Canio to Nedda’s infidelity. Platanias proved convincing as one of true villains in the traditional repertory of dramatic baritones. Operawire - Lois Silverstein – 17th September 2018 Headline - Great Singing From Ekaterian Semenchuk, Dmitri Platanias - Steal The Show The "Cav" Cast Alfio, Lola’s husband, sung by baritone Dimitri Platanias in his SFO debut, appeared earnest, forthright, and deliberate. His hail-fellow-well-met appearance at the outset, effectively disguised the degree to which his rage might go. Buoyant and friendly, he sang with strong resonance and confidence... The "Pag" Team He sang with vigor and pathos and appealed as he pushed us away. We took pity on him even as he clawed at Nedda, who subsequently whipped him. He wrapped himself in the stage-within-a-stage curtain, his poignant aria, while not as compelling as it might have been, was moving and resonant. It was hard to forget it, or let it go. * * *
• CAVALLERIA RUSTICANA - Théâtre Royal de la Monnaie - March/April 2018Bachtrack – Patrice Lieberman – 8th March 2018 l’Alfio imposant et hâbleur de Dimitri Platanias Opera Traveller 20th March 2018 Dimitri Platanias sang Alfio with ease. It seems almost churlish to suggest that there would be something negative in the way that he sang that music with such security, but in a way the elemental struggle that Alfio goes through felt a little underplayed given the ease with which he negotiated the role. That said, to hear it sung so well was indeed a pleasure after hearing quite a few barkers over the years. His baritone is in excellent shape. Olyrix - Soline Heurtebise – 8th March 2018 Alfio de son côté, figuré par Dimitri Platanias, brutal baryton et puissant de graves profonds, s’assure une présence remarquée, malgré un rôle presque trop discret pour la voix de son interprète. ForumOpera.com – Claude Jottrand – 6th March L’autre couple de la distribution, Josè Maria Lo Monaco (Lola) et Dimitri Platanias (Alfio) est également excellent, mais dans un registre plus sobre. LaLibre.be – Nicolas Blanmont – 8th March 2018 Les hommes ne sont pas en reste, qu’il s’agisse de Teodor Ilincai (Turiddu) ou de Dimitri Platanias, excellent de brutalité animale en Alfio. giornaledellamusica.it- Alma Torretta – 6 March 2018 convincente assai anche l’Alfio di Dimitri Platanias * * *
• RIGOLETTO - ROH Covent Garden - December 2017 / January 2018Express - William Harston - 15th December 2017 It was difficult to watch the excellent Greek Baritone Dimitri Platanias in the same costume without making unfair comparisons with Hvorostovsky, but he rose to the challenge very well, singing the part with strength and snarling admirably, even if his bounding around on the crutches did not match the late Russian’s almost gymnastic efforts. Bachtrack – David Karlin - 15th December 2017 Dimitri Platanias has sung the title role of Rigoletto many times in many houses. On the evidence of last night at Covent Garden, he’s still improving: the voice is still rounded and suffused with warmth in the fatherly exchanges, but compared with the last time I saw him in the role, back in 2012, he has acquired an extra hard edge which heightens the contrasts and the drama, most particularly in the great Act 2 “Cortigiani”. Platanias seemed to inspire Sofia Fomina as Gilda: their duets were the high points of the evening, a marvel of expressivity of interwoven voices. Verdi is perhaps the greatest of all composers to have expressed in music the love of a father for his daughter – his distress at the death in childhood of his own daughter is well documented – and Rigoletto is perhaps the finest of all examples: these passages should be sublime and Platanias and Fomina duly delivered. … Another of Platanias' qualities seemed to be the ability to adapt without being fazed to whatever tempi conductor Alexander Joel threw at him. Classical Source - Alexander Campbell - 21st December 2017 However, Rigoletto is really about the baritone and his interactions with Gilda and Sparafucile. Platanias has sung the role in this staging before, but here his singing and depth of characterisation have developed enormously, and his vocal control was exemplary. The duet with Andrea Mastroni’s cavern-voiced Sparafucile was thrilling and chilling in equal measure – two singers at their peak – and with Lucy Crowe’s Gilda, she and Platanias were a great partnership. Again in Act Two there were some treasurable moments – Crowe’s Padre, in voi parla un angelo per me consolator (Father, through you a consoling angel speaks) really emphasised that, and Platanias had indeed just done that to perfection! MusicOMH - Sam Smith - 24th December 2017 Dimitri Platanias is excellent in the title role, really convincing as a man who is constantly battling against being lumbered with every disadvantage in life. His baritone conveys the right senses of grit and heft for the role, and yet is remarkably smooth as it shows an impeccable mastery of phrasing. In this way, Platanias offers us the best of both worlds The Guardian - Tim Ashley - 21st December 2017 Rigoletto is played by the Greek baritone Dimitri Platanias, imposing on stage, handsome of voice, and deeply touching in his duets with Sofia Fomina’s Gilda, where we get a real sense of Rigoletto’s solicitous affection for his daughter. Mark Ronan’s Theatre Reviews - Mark Ronan - 15th December 2017 Platanias and Fomina made an extraordinary pairing as Rigoletto and Gilda, never more so than after their Act II duet when she admits what has happened and he promises himself vengeance with the same determination we see reflected in her Act III disobedience at remaining in town and giving up her life. Like father like daughter. A revelation. From their lovely duet in Act I to the perfect vocal control in her beautiful solos and his engaging warmth inside a rough exterior, their emotionally gripping performances gave full sense to the final moments of tragedy. OperaWire - Sophia Lambton - 16th December 2017 For all its sleep-inducing spectacle there is nevertheless a saving grace. Returning to the title role, Dimitri Platanias layers this iconic character with something other baritones have easily omitted. His Rigoletto is not only cursed and publicly, horrifically derided; he’s a long-suffering invalid. It’s no comedic hunchback. Platanias not only uses his two canes to founder on the stage throughout the whole performance, he equips his voice with its own fragile stagger: a pulsating vibrato. It is the grouchy instrument of a hefty, portentous low baritone; yet even at the character’s most fearsome moments – when ordering the Duke’s imminent murder, for example – one can sometimes hear the breathiness characteristic of a physically impaired old man for whom a long walk is a struggle. His is a Rigoletto who can damn the courtiers with weighty, declamatory insults in his attack, “Cortigiani, vil razza dannata” – and at the same time curse the heavens for endowing him with no fate but to make the public laugh with a lengthy plaintive diminuendo. It isn’t a superlative exploration of the scale of gradations Rigoletto could canvass – either interpretatively or dynamics-wise. His lament at the snatching of his daughter is more an outraged condemnation than a father’s abrupt panic. And yet Platanias convinces us that Rigoletto – a Verdian anti-hero that we customarily associate with pompous, clichéd and bombastic singing – is a vulnerable and doting father. * * *
• LA TRAVIATA - Glyndebourne Festival OperaSunday Express - William Hartston - 3rd August 2017 The Greek baritone Dimitri Platanias sang with huge power and really looked the part of the bullying patriarch… Michael Church’s Blog - 16th August 2017 Meanwhile the Greek baritone incarnating Germont this month – Dimitri Platanias – sings and acts with such resonant warmth that one readily believes both his rigid attitude to morality and his eventual sympathy with the ‘fallen’ woman. Bachtrack - Mark Pulinger - 2nd August 2017 Barrel-chested Greek baritone Dimitri Platanis unleashed a glorious, rich sound as Germont, which rolled around the house. There are few more juicy sounding Verdi baritones around, evidenced in a terrific “Di Provenza”…. Seen and Heard International - Colin Clarke - 4th August 2017 Greek baritone Dimitri Platinas enjoyed a fine evening vocally as Giorgio. His acting could have been a step more involved, but he was in beautiful, burnished voice. * * *
• SIMON BOCCANEGRA - Concertgebouw AmsterdamBachtrack - Jenny Camilleri - 17th September 2017 Platanias's performance was a range of vocal peaks. Rock-solid and thrillingly robust, his voice has a touch of gruffness that makes the rugged past of the pirate-turned-politician all the more credible. One could crave a little plangency, but his is not that kind of voice. It is a powerful, skillfully steered vehicle. Bringing the warring councillors to order comes naturally to the commanding Verdi specialist. But he could also pare down his ample baritone when necessary. In his touching death scene he struck a vein of tenderness when Boccanegra recalls his two great loves, Maria and the sea. Place de L'Opera - Laura Roling - 18th September 2017 De verschillende kanten van Boccanegra – liefhebbende vader, gefrustreerd politicus, idealistische dromer en gepassioneerd man – werden door de Griekse bariton Dimitri Platanias magistraal tot uitdrukking gebracht. Platanias is een échte Verdi-bariton, met een warme, karaktervolle stem, waarmee hij niet alleen moeiteloos boven orkestgeweld uitkomt, maar ook de tederste, honingzoete muzikale lijnen feilloos kan uitspinnen. Transl.: The Greek baritone Dimitri Platanias interpreted the different aspects of Boccanegra – loving father, frustrated politician, idealistic dreamer and passionate man – brilliantly. Platanias is a true Verdi-baritone. He has a warm voice full of character allowing him to rise above the power of the orchestra, but which at the same time allows him to spin out flawlessly the most tender and honeyed musical lines. * * *
• MACBETH – Hamburgische StaatsoperTamino Klassikforum - Ralf Reck - 05.03.2017 The Greek baritone of Dimitri Platanias (Macbeth) began as a black bass, but soon showed that he beherschte the height; he sang beautiful voice, with high Legatokultur, without disturbing vibrato and with great conviction. Platanias today proved to be a worthy successor of Piero Cappuccilli and Franz Grundheber. * * *
• STIFFELIO - Oper Frankfurt November 2016Place de L'Opera - 2nd November De grote man van de avond was de Griekse bas Dimitri Platanias, die een fenomenale vertolking van Stankar gaf. Platanias had recent in München veel succes als Boccanegra, één van zijn paraderollen. Zijn enorme woede-uitbarstingen en zijn vertwijfeling toen Raffaele ontkomen leek te zijn, maakten grote indruk. Zijn leven kreeg weer zin toen die schoft opnieuw ten tonele verscheen, zodat hij hem alsnog kon doden. Een vreemde figuur, die Stankar. Hij is steunpilaar van een strenggelovige sekte die vergevingsgezindheid hoog in het vaandel heeft staan, maar als privépersoon is hij een ‘oog om oog’-natuurmens. (The hero of the evening was the Greek bass singer Dimitri Platanias. His rendition of Stankar was phenomenal. Recently he also had great success in Munich with his star role as Boccanegra. His terrific outbursts of anger and his despair when Raffaele appeared to have escaped were impressive. His life became meaningful again when this blackguard reappeared and he could finally kill him. Stankar is a strange character. He is a pillar of an extreme religious sect in which forgiveness is an essential element, but in private life he is a “tooth for tooth “ primitive man). * * *
• NABUCCO ROH - ROH Covent Garden June 2016What'sOnStage - Mark Valencia - London West End - 16th June 2016 What the title character affords is a golden role for a Verdi baritone, which is why Dimitri Platanias (who shares this revival with Domingo) is the one to hear. The Greek singer is fast establishing himself as the most exciting exponent of this repertoire working today, and he doesn't disappoint. Whether sane or crazed, imperious or broken, his Nabucco is sung with the kind of warm, mellow power, evenly distributed across his range, that makes you want to revoke the man's passport and chain him to our shores. Opera Today - Claire Seymour - 18th June 2016 But, Domingo is sharing the role with Greek baritone Dimitri Platanias, and on this occasion the latter proved himself a stylish Verdian, with a voice that can rove from heroic to suave, from ringing to whispered, and a dramatic presence equal to the task of representing a King who is both crazed tyrant and tender father. Platanias's blazing baritone is even across the range and beautifully coloured. Its sureness and consistency, and his confident musicianship, offers him dramatic freedom; powerfully built, whether vicious destroyer or vulnerable patriarch, he commands the stage. At his first entry, Platanias’s King is both dismissively imperious and disturbingly unstable: when he snatches the crown and declares himself King and God of the Babylonians, his repeated assertions of his own divinity (‘Non son più re, son dio’) signal his impending insanity. He has both the tragic grandeur of Othello and the paranoid delusion of Lear. Subsequently, when Nabucco pleads for Fenena’s life (‘Oh di qual onta aggravasi questo mio crin canuto’) he becomes a Rigoletto - the role in which Platanias made his debut at Covent Garden in 2012 - a desperate father suffering the loss of the one thing in the world that he loves with selfless honesty. In the final Act, miraculously restored to health and reason - his prayers to the God of Judah answered - Platanias recovered his regal rectitude, leading the final chorus with stentorian power and persuasiveness. James Karas Reviews and Views - James Karas - 19th June 2016 The title role is sung alternately by Placido Domingo, the grand old man of opera and the relative newcomer, Greek baritone Dimitri Platanias making his Royal Opera House role debut. He gives a signature performance. From the arrogant king to the unhinged ruler and humiliated father, he achieves simply superb vocal resonance and emotional range. Just listen to his delivery of Deh perdona (Have mercy on a delirious father) where the great king is reduced to begging for mercy for his daughter from a slave who scorns him. Plays To See - Enza de Francisci - 19th June 2016 Above all, what keeps the opera alive is, undoubtedly, Nabucco himself interpreted by the great Dimitri Platanias who, not long ago, was back at the Royal Opera House as Alfio in Mascagni’s Cavalleria rusticana and Toni in Leoncavallo’s Pagliacci. The Greek Baritone dominates the stage with his imperial presence. His powerful voice brings Nabucco to life with zest, passion and vigour. Platanias, together with the magnificent orchestra, invites strong cheers from the audience all around the auditorium, especially when Nabucco is struck down — centre stage and under the spotlight — as he declares himself to be God. The role of Nabucco had been performed earlier this month by the mighty Plàcido Domingo and, though I have not seen the Spanish tenor interpret the title role, Platanias in this performance is very much the star and the saving grace of the entire production. Planet Hugill – Robert Hugill - 1st July 2016 Dmitri Platanias, whom we last saw in Cav & Pag at Covent Garden, made a strong Nabucco, using his physical presence to create a thuggish King but showing that he has enough suaveness to shape Verdi's lines. This is vocal writing in which we can still see the young composer's links to late Donizetti, and Platanias showed a pleasing ability to fill the phrases strongly, but keep the tone even throughout the range, and enlivened by a nice warmth of tone. In the second half, when Nabucco wanders half-mad, Platanias was both convincing and moving… * * *
• CAVALLERIA RUSTICANA & I PAGLIACCI – ROH Covent Garden - December 2015The Sunday Times - Hugh Canning – 13th December 2015 The same goes for Dimitri Platanias's vengeful Alfio and vindictive Tonio, although the Greek baritone has the outstanding voice on stage. The Spectator – Michael Tanner – 10th December 2015 Dimitri Platanias, a loutish Alfio in Cav., gave a stupendous performance of the noble Prologue, and then in the body of the work was quite loathsome... Fanáticos da Ópera/Opera Fanatics – 5 December 2015 O barítono Dimitri Platanias também cantou dois papéis, Alfio na primeira e Tonio na segunda ópera. Tem uma voz poderosíssima, muito expressiva e bem timbrada. Também achei que a interpretação foi melhor em Pagliacci onde, logo no prólogo, foi absolutamente sensacional. www.planethugill.com - Robert Hughill – 4th December 2015 Dimitri Platanias made a strong, and slightly scary Alfio (you could certainly imagine his Mafiosi friends)… Dimitri Platanias was a strongly nasty Tonio, projecting the character's self-loathing whilst in the prologue (done as 'himself') he produced a stupendous performance singing with strength, subtlety and superbly supported phrases. A Younger Theatre - Rebecca Gwyther – 5th December 2015 In Cavalleria Rusticana the duet between Alfio and Santuzza tells of twisted revenge, tension and bitterness, sung through the power of Dimitri Platanias and the purity of Eva-Maria Westbroek. In Pagliacci it is again Dimitri Platanias that impresses, absorbing the audience in the ‘play within a play’ style with the opening prologue. The Guardian – Fiona Maddocks – 6th December 2015 Hardly having a chance to show his worth as Alfio in Cav, the Greek baritone Dimitri Platanias came into his own as the hideous, rapacious Tonio Evening Standard – Barry Millington - 4th December 2015 Dimitri Platanias, Alfio in Cavalleria, came into his own with a potently voiced Tonio in Pagliacci. Opera Today – Claire Seymour – 10th December 2015 Platanias's baritone acquired fullness and suavity; the prologue of Pagliacci was riveting from the first, and he introduced nuances to his voice that had been absent in Cavalleria. The Critics' Circle – Robert Thicknesse – 8th December 2015 From the prelude, done with a lot of style and feeling by Platanias, things are on a different plane of engagement Mark Ronan Theatre Reviews – 4th December 2015 Dimitri Platanias was a terrific vocal presence with a superb opening solo to set Leoncavallo’s opera in progress WhatsOnStage – Mark Valencia – 4th December 2015 Aleksanders Antonenko and Dimitri Platanias grace both operas, the tenor as Turiddu and Canio, the baritone first as his rival Alfio, then as his colleague Tonio. Platanias is in rousing form with a steady delivery that never palls despite the gruffness that's required of him. Classical Source – Peter Reed – 3rd December 2015 …his spivvy salesman Alfio and twisted Tonio seethed with fury and loathing, both vividly and blackly-sung roles and blood-brothers to Iago and Rigoletto. Independent – Michael Church – 4th December 2015 Dimitri Platanias’s vividly-drawn Alfio. ….and Platanias the bitterly insidious Tonio, with both giving charismatic performances. Bachtrack – Mark Pullinger, 04 December 2015 ….his baritone is gloriously rich and smooth throughout its range and his Pagliacci Prologue purred along. MusicOMH – Keith McDonnell – 6th December 2015 …..yet Platanias excelled in both roles. Sean and Heard International - Colin Clarke – 6th December 2015 Dimitri Platinas took Alfio and Tonio respectively, catching their darker emotions well. Opera-Online - Sam Smith – 6th December Both the voices of Aleksandrs Antonenko (who plays Turridu and Canio) and Dimitri Platanias (Alfio and Tonio) are characterised by firmness, security, precision and expansiveness, although their respective tenor and baritone ranges see these attributes manifest themselves in different ways. Financial Times - Richard Fairman – 7th December 2015 …..sings with unfailing strength as Alfio and Tonio. Harper's Bazaar – George Smart – 3rd December 2015 The Greek Bass-Baritone Dimitri Platanias sings both Alfio and Tonio with dark intensity. culturewhisper.com ….while Dmitri Platanias shines in Alfio's rollicking Il cavallo scaplita and Tonio's Prologue. The arts desk.com - Alexandra Coghlan – 4th December 2015 It's the equal and opposite balance to Dimitri Platanias's Prologo – laconic humour turning to sudden vocal violence. Il Giornale della Musica – Salvatore Morra – 7th December 2015 Dimitri Platanias, Tonio/prologo, espone, non al proscenio ma nel suo camerino, la poetica del vero, con gran voce e fisicità - enfatizzata con lucida intelligenza dal regista, senza reticenza nel mostrare tutta la diversità del ruolo in rapporto a Canio. Operaonline - Sam Smith – 10th December 2015 Si l'intelligence de la mise en scène contribue au succès de la soirée, le plateau vocal est à l’avenant. Les voix font montre d’une force exceptionnelle sur scène. Tant celle d’Aleksandrs Antonenko (qui incarne Turiddu et Canio) que celle de Dimitri Platanias (Alfio et Tonio) se démarquent par leur solidité, leur assurance, leur précision et leur projection, quand bien même leur tessiture respective de ténor et de baryton se manifeste de façon différente. Opernwelt - Wiebke Roloff – February 2016 Der griechische Verdi-Bariton Dimitri Platanias, als Alfio in "Cavalleria" solide, aber nicht auffällig, legt sich als Tonio erst richtig ins Zeug, beginnt in seiner großen Soloszene, dem Prolog, auf fesselnde Weise mit den Farben zu spielen. * * *
• AIDA – Torino Regio Torino – October 2015Liricament.it - Claudio Fenoglio – 23rd October 2015 Encomiabile è l'Amonasro di Dimitri Platanias che, dotato di voce piena, squillante e ben timbrata, sa fraseggiare, dosare gli accenti e usare la parola alla maniera verdiana. * * *
• I PAGLIACCI - Osterfestspiele Salzburg - March 2015Opera Magazine - John Allison - June 2015 Such a line up also made it hard for Pagliacci to match these vocal stakes, though Dimitri Platanias brought a smooth, rich baritone and keen dramatic intelligence to Tonio. Opernwelt - Markus Thiel - Mai 2015 ...und Dimitri Platanias (Tonio) machen ihre Sache Fabelhaft. * * *
• NABUCCO - Staatstheater Stuttgart - January/February 2015Online Merker - Udo Klebes - 21st January 2015 Neben ihrem zu Herzen gehenden, von Reue geprägten Sterbegesang imponierte sie besonders durch kluges Steuern ihrer Duett-Konfrontation mit Nabucco, in dem ihre Unerbittlichkeit und ihr Triumph über den vom Blitz geschlagenen König von Dimitri Platanias zusätzlich angestachelt ist. Der international gefragte Grieche gehört inzwischen ohne Zweifel zu den erstklassigen Vertretern eines mit schönem Legato, natürlicher Phrasierung, warmem Timbre und einer Top-Höhe ausgestatteten Verdi-Interpreten. So ausgeglichen er seinen Bariton präsentiert, so spielerisch wandelbar zeigt er sich in den wechselnden Höhen und Tiefen des babylonischen Herrschers. * * *
• OTELLO - Oper Frankfurt - November/December 2014Operatraveller - 16th November 2014 Platanias has an exceptional instrument. The voice is rock solid and even throughout the range. The tessitura holds no terrors for him and he tears up the stage as Jago. The Credo was sung with a genuine rare strength and the voice is big with real amplitude. * * *
• SIMON BOCCANEGRA - Bayerische Staatsoper - October 2014 (Title role)Munich and Co - Luc Roger - 12th October 2014 En Boccanegra il émeut avec sa voix riche, profonde, puissante et sombre, et son beau jeu d'acteur qui sait rendre les transformations de Simon Boccanegra: le pirate qu'il fait ressembler à un parrain de la pègre se transmue en un doge tourmenté certes mais qui sait porter avec force la dignité de sa fonction. Platanias dispose aussi d'une expressivité émotionnelle rare pour évoquer les déchirements et les doutes intérieurs de Simon Boccanegra. Bachtrack - Benedikt Zacher - 11th October 2014 Dimitri Platanias schließlich gab den Simon Boccanegra sehr souverän und mit großem Einfühlvermögen * * *
• RIGOLETTO - ROH Covent Garden - (relayed to Trafalgar Square) September 2014The Spectator - Michael Tanner - 4th October 2014 I can't imagine ...whom I have seen in the title role, ever being as persuasive as Dimitri Platanias, who may be the best Rigoletto I have ever seen. More bug-like than any of his predecessors in this production, he has a sumptuous but grainy true bass (sic) and can modulate from ranting, shaking rage to abject pleading with peerless continuity * * *
• RIGOLETTO - Théâtre Royal de la Monnaie - May 2014BRF - Hans Reul -9th May 2014 Aber vor allem ist Dimitri Platania in der Titelrolle des Rigoletto hervorzuheben. Er singt nicht, er spielt nicht den Rigoletto, er ist förmlich Rigoletto. Nur selten erlebt man es so intensiv, dass ein Sänger sich mit einer Figur identifiziert. Selbst noch beim minutenlangen Schlussapplaus hat man den Eindruck, Platania steckt immer noch in diesem Rigoletto. Forumopera.com - 9th May 2014 Claude Jottrand La distribution est largement dominée par le Rigoletto du baryton grec Dimitri Platanias. Outre qu'il arbore magnifiquement le physique de l'emploi (la bosse en moins), il met dans son interprétation une telle force dramatique, une telle intensité qu'à tout moment il convainc. La voix est charnue, corsée, puissante, colorée, irréprochable de vérité. Le Soir- Michèle Friche - 4 Juin 2014 Quant au rôle de Rigoletto, père de Gilda, il nous a permis de découvrir un baryton grec formidable, un vrai verdien, Dimitri Platanias: timbre sombre, puissance dans l'aigu, un rien parfois déstabilisé dans la demi-teinte grave, une stature impressionnante, mais sobre et émouvante, une montagne de douleur cachée, de violence aussi, inquiétant sous le masque blanc et les lèvres rouges du clown. * * *
• TOSCA - Oper Frankfurt - December 2013Online Merker - Gerhard Hoffmann – 11th December 2013 Die absolute vokale Überraschung des Abends bot allerdings Dimitri Platanias, sein herrlich timbrierter Bariton strömte weich dahin, verlor selbst in den expressiven Passagen nicht den nuancierten Farbreichtum. Die Prachtstimme erschien für den fiesen Scarpia fast zu schön, doch verstand es der griechische Sänger in trefflicher Mimik diese Charakterzüge umzusetzen. * * *
• RIGOLETTO - Barbican, London Symphony Orchestra, 15th September 2013Opera Magazine - Yehuda Shapiro – November 2013 Experienced from the centre stalls, the voices rang out thrillingly, notably that of Dimitri Platanias, Covent Garden’s Rigoletto in spring 2012. His is not a huge, rolling sound – more compact and focused, and of almost tenorial clarity towards the top. With his dignified brooding presence and scrupulous musicianship, including a delicate voix mixte, Platanias caught the jester’s tragedy without emoting profusely or pushing his tone out of shape. His lyrical singing could perhaps be more caressing, but this was a real Italianate baritone, in consummate command of his role. Seen and Heard International by Jim Pritchard - 16th September 2013 The Greek baritone Dimitri Platanias looks like a huge pit-bull but sang here like a Verdi ‘god’. His Covent Garden debut was as Rigoletto and this was broadcast to cinemas worldwide. As in that David McVicar production, there his Rigoletto is clearly a ‘victim’ from the opera’s beginning to its end and in his outbursts he rails against the injustices he feels he is suffering from, as well as, the curse of Count Monterone on him and the Duke because of the latter’s violation of his daughter. His acting as before was emotionally engaging and compelling throughout and despite some enthusiastic applause interrupting his performance from time to time he never once stepped out of character, always remaining admirably focussed on the ensuing drama. His Act II aria ‘Cortigiani, vil razza dannata’ and duet ‘Sì! Vendetta, tremenda vendetta!’ were obvious highlights and even though some might quibble that Platanias lacks a true Verdian legato, his is such a very powerful – and instinctive – performance that this does not matter whatsoever. www.classicalsource.com - Reviewed by Peter Reed The Greek baritone Dimitri Platanias, who played the title role in the Royal Opera’s revival in 2012, has hugely extended his emotional range as the jester. Even without accoutrements of costume and hunchback, you could feel him battling with the weight of Monterone’s curse, his uncompromising loathing of the Duke and his court, his disarming tenderness towards his daughter Gilda, and the subtle complexity of his anxiety over her abduction (which was a stand-out moment, with plenty of stiff competition, in this performance). His control of phrase and colour was a perfect fit for the music, and with Noseda at the helm, Platanias’s portrayal of Rigoletto’s self-disgust and inner conflict was astoundingly three-dimensional – the tragedy and irony of his ‘Look at me now, world’ in Act Three, when he thinks he’s clinched the Duke’s death, was unforgettable. Opera Brittania by Mark Pulinger – Monday 16th September 2013 Of the three principal singers, only Dimitri Platanias brought any insight into his role. I missed his Rigoletto at Covent Garden in 2012, but was impressed enough with his Paolo this summer there in Simon Boccanegra to make me wish he was singing the doge himself. His baritone is big and bold, with a rich, velvety warmth to it, enabling him to ride the orchestra in great long phrases. He uses his instrument imaginatively. Rigoletto’s great monologue “Pari siamo” featured a decent range of dynamic response and expression and he fulminated convincingly in “Cortigiani”. Big moments weren’t fudged – the cries of “Ah, la maledizione!” rang out, as did the interpolated A flat at the end of “Sì, vendetta” duet. The Guardian – Tim Ashley - 17th September 2013 Noseda's approach was very much matched by that of his Rigoletto, dark-voiced Greek baritone Dimitri Platanias, who persuasively captured the seething rage and potential violence beneath the jester's obsequious servility * * *
• SIMON BOCCANEGRA - ROH Covent Garden, June/July2013 (role Paolo Albiani)Opera Britannia - Sebastian Petit - 28 June 2013 Finally we were lucky to have set against Hampson's Doge Dimitri Platanias' pit-bull of a Paolo. Platanias revelled in the dramatic opportunities and sang the role in full-bronzed tones befitting a full Verdi baritone. His short aria at the opening of Act 2 was a model of concentrated drama. Bachtrack - David Karlin - 28th June 2013 As his eventual murderer Paolo, Dimitri Platanias sang almost as powerfully and comprehensively outacted him. Express - William Hartson - 5th July 2013 With hugely impressive performances from Ferruccio Furlanetto, as his sworn enemy Fiesco, Dimitri Platanias as the scheming courtier Paolo, and…. this adds up to a quartet of leading male roles that drive the production forward, both musically and dramatically, to magnificent effect. What'sOnStage - Mark Valencia - 3rd Julay 2013 ….was magnetic as the turncoat Paolo, a man eaten away by jealousy and resentment. Platanias floated some heavenly notes above the water-borne strings that open the opera before descending fiercely, two hours later, into a hell of the character's own making. Startling stuff. The Times - Hilary Finch - 2nd July 2013 Darker still, in the very abysm of moral chaos, is the inky baritone of Dimitri Platanias , making his role debut as an all but demonic Paolo, with resentment and self-cursing coiled in his voice. The Spectator - Michael Tanner - 13th July 2013 Dimitri Platanias makes a really hateful Paolo, one only wishes the opposition to him were stronger. Ms OperaGeek - 14th July 2013 Dimitri Platanias was a marvelous Paolo, a role that is often undercast at the Met even with its importance in the plot. I particularly enjoyed his scene where he debates over how to kill Boccanegra, with poison or with a knife. He was dramatic, and he was far from undercast in his role as Paolo. MusicalCriticism.com - Michael Migliore - 19th July 2013 Dimitri Platanias as Paolo, was every bit as good as when I saw him in Rigoletto last year. His strong yet supple vocal lines are imbued deeply with thrilling color and nuances, which he rounds off with a syrupy sound. TheArtsDesk.com - Ismene Brown - 28th June 2013 but I kept thinking that Platanias, a squat, powerful Paolo with more intensity to his voice, might make out a more arresting Boccanegra. * * *
• SIMON BOCCANEGRA - Royal Opera House, Muscat Oman - December 2012The Times of Oman - Sarah Macdonald - December 2012 Platanias's strong, powerful voice was a beautiful contrast to his subtle, yet effective performance as Simon. His emotions seemed true and raw, especially in the scene when he discovers his daughter. * * *
• RIGOLETTO - ROH Covent Garden, March/April 2012MusicalCriticism.com - Michael Migliore - 4th April 2012 Baritone Dimitri Platanias, making his house début as Rigoletto, received a rare - and well-deserved - standing ovation for his performance. He sings with unparalleled passion and a sense of style that is at the least captivating and at its best hauntingly sublime. Music OMH - Opera Reviews - Lottie Greenhow - 30th March 2012 Dimitri Platanias commanded the stage as a wholly believable Rigoletto. A robust and mellifluous baritone, with a startlingly large range, he conveyed all the pathos that the role requires whilst injecting all Rigoletto's coarse humour into his jester scenes. Throwing himself completely into the role, he squeezed every last drop of emotion from Gilda's death scene, and appeared to take his bows looking somewhat shaken (receiving a well-deserved standing ovation in the process). The Spectator - Michael Tanner - 14th April 2012 Dimitri Platanias, in the title role, has a magnificent voice, and used it with sensitivity and passion. Mark Ronan's Theatre Reviews - 2012 ..with Dimitri Platanias an outstanding Rigoletto. His lovely tone in Act I elicited my sympathy, and in Act II his heartfelt la mia figlia, followed by his condemnation of the courtiers came over with huge power. Sunday Times - Culture - Hugh Canning 8th - April 2012 Platanias scored with the audience for his generous, easy legato and commitment Seen and Heard International - Jim Pritchard -March 31, 2012 a very powerful performance and a significant house debut The Arts Desk - by Alexandra Coghlan -Saturday, 31 March 2012 Beautifully even through the range and strong at the extremes, his is a quality baritone Bachtrack - David Karlin -30th March 2012 Dimitri Platanias gave us a wonderfully warm and rounded rendition of the title role, at his best in the tender moments between father and daughter where his richness of voice is very appealing The Sunday Telegraph - John Allison -8th April 2012 Dimitri Platanias projects a powerful baritone as the tormented Rigoletto, carrying off the scabious, cockroach-like characterisation well The Guardian - George Hall - 10th April 2012 Dimitri Platanias offers an awe-inspiring baritone in the title role Time Out - Jonathan Lennie - 5th April 2012 Platanias steers a steady line between pathos and bathos, showing unwavering stamina in a superbly controlled vocal performance Seen and Heard International - Jack Buckley - 18th April 2012 (via satellite) …a remarkably impressive and chilling performance from a thrilling singer. The Telegraph - Rupert Christiansen - 3rd April 2012 A big bruiser of a baritone with a terrific instrument, he sang with a blazing power that earned him an enthusiastic ovation Pamela Hickman's concert critique blog 22nd April 2012 The role of the hunchback court buffoon Rigoletto, is played by Greek baritone Dimitri Platanias, making his Covent Garden debut. His huge voice and all-encompassing stage presence are matched by his intensity, total involvement, vitality and facial expression. At each stage of the plot, one reads the emotion of the moment in his eyes. Those eyes burst into flame as he turns on the courtiers, screaming at them, calling them "you evil damned race", with the orchestra reflecting his gestures with incredible energy and violence. And then he is so different - so tender - when enquiring about his daughter. The court jester turns out to have an enormously noble and dignified side to him. Platanias' performance was moving and real. --> Download (Pdf)                                     |
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