Lado Ataneli, who played father Germont, sounds like the perfect Verdi Baritone. He has a nice firm sound in the lower middle of his voice, and notable breath support.
Washington Post, November 15, 2008
Lado Ataneli was the ideal Giorgio Germont both in voice and physical appearance. A true Verdi baritone with a round and darkly resonant voice, he sang with great style and generosity of tone. Mr. Ataneli is a very communicative actor and was able with clarity to paternal protective nature with Alfredo.
by Michele Spazacino, November 2008
Baritone Lado Ataneli is role full of pervers charisma and high dramatic possibilities and captured most of them
Washington Post, May 14, 2007
First and foremost is baritone Lado Ataneli in the title role. Ataneli shows us just how much gorgeous subtlety and range a baritone voice has to offer. He brings to his masterful, sonorous tones a noble smoothness with barely a trace of the gravely default which so often flattens the deeper voices. Not only does he sound good, Ataneli moves well. He thrashes at the intentionally vast spaces with the very kind of grand impotence one would expect in the tortured character of Macbeth. And he does look awfully good in a dress.
Washington D.C., GLBT News Magazine
Fortunately the singing from the principals was almost uniformly excellent. Georgien baritone Lado Ataneli is gained confidence as the story unfolded and his work in the final act was crisp and decisive.
Washington Times, May 2007
Concert at the Strachmore Music Center
Baritone Lado Ataneli has a booming dark voice and a commanding stage-presence.
Washington Post, June 2007
Pagliacci centered even more on the convincing acting of the principals, starting with Lado Ataneli's mellifluous prologue, after which he turned into a lively, nasty Tonio. The baritone from the Republic of Georgia showed abundant bel canto lyricism.
Opera News, New York, January 2007
As his rival the Count di Luna, Lado Ataneli proved a formidable adversary, dark and ample of tone, conveying the counts the count's malevolence yet spinning a warm legato in his Act 2 aria.
Miami Herald, Miami-Florida, December 2006
Lado Ataneli gave an unusual, strikingly unheroic reading of Posa; in his duets with Carlo and his solos, this Posa was a paragon of nobility. This was a Posa very close to Schiller.
Opera news, Los Angeles, December 2006
His confidant, Rodrigo, sung by Georgian-born Lado Ataneli, was exceptional. Together. Their big set duet in Act I (“Dio, che nell’ alma infondere”), the Mates Motif. Was flawless. Synchronized to the tee under the direction of James Conlon. The pairing was an exciting prelude of things to come.
Concerto Net, Los Angeles, November 2006
Carlos best friend Rodrigo, portrayed with sincerity and richness of tone by baritone by baritone Lado Ataneli.
Act fourth prison scene was dominated by Atanelis’ Rodrigo, Rodrigo sacrificed himself for Carlo and Spain and his “io morro, ma lieto in core” was beautifully sung, with great feeling.
Opera Click, Los Angeles, 2006-09-28
Ataneli made a superb Jago, successfully avoiding run-of-the-mill villainy. His most depraved feats always resented the elegance of the gentleman-cum-officer, exactly as stipulated by Verdi and Boito for the role's first impersonator Victor Maurel. In their duet "Si, pel ciel marmoreo giuro" Ataneli fully matched Cura's passion, arguably surpassing him technically. No less remarkable was his lighthearted buffo-style countenance during the handkerchief scene with Cassio.
Musical America, March 4th 2006
“There was a full house for Giordano’s Andrea Chénier on 25 November – the production by John Dew remains enthralling even after repeated viewings, especially the big scene between Gérard and Maddalena, where the atmosphere becomes so charged you can practically feel it, not least because we are talking about two world rank singers here. With his wholesome, colorful and technically brilliant baritone and outstanding acting skills, Lado Ataneli dominated the stage and made for such an inspiring revolutionary leader that the audience almost forgot why the work had ever been considered a typical tenor opera.”
Orpheus, 1+2 2006
I Vespri Siciliani
Although branded as the villain, Ataneli successfully brings sympathy and sensitivity to Monforte.
The Hoya, September 23, 2005
Baritone Lado Ataneli made a thoughtful, sensitive and rather gray Monforte
Tim Page Washington Post, September 19, 2005
Lado Ataneli vocally and dramatically has at his disposal the best means to show the changing of his inner world. His supple, powerful, and rather dark-sounding baritone voice is most impressive and rich with color.
Der Neue Merker, May 28, 2005
Certainly the best performance of the evening was Lado Ataneli’s convincing and temperamental performance as Gérard. This magnificent, glowing baritone voice knows how to convey love, hate, and anger. Especially wonderful is his easy and natural tone production. Few first-rate baritone voices performing the Italian repertoire exist, and it would be a big loss to miss this singer in upcoming seasons.
Der Neue Merker, May 25, 2005
Lado Ataneli once again was Carlo Gerard, a role which one can never grow tired of hearing him sing. From the first to the last tone he can be compared only to Bastinini, which is something like Olympic gold. Ataneli, truly at home in Verismo repertoire, should always sing this role and continue with much more in this fach.
Der Neue Merker, May 21, 2005
Lado Ataneli with his great resonant baritone was impressive in the title role. Vocally powerful and as stage personality credible as the unscrupulous leader who for years kept patricians and plebians equally at a distance, was as impressive as a peacemaker as he was a tender, loving father. ….like Tito Gobbi, he has at his disposal a stage presence that promises distinctive, shimmering portrayals for the other great Verdi baritone roles of this fach.
Opernglas 6, 2005
Metropolitan Opera star Lado Ataneli brings his powerful baritone to San Diego opera debut as Simon Boccanegra
Post a Review – March 29, 2005 San Diego
In the title role, Lado Ataneli makes his San Diego debut. His robust Baritone so completely dominates the production that the other roles serve as counterpoint to his vocal prowess.
Post a Review – March 29, 2005 San Diego
Lado Ataneli. Who sang the title role, is a baritone of international stature with a distinctive sound to his hefty, mellifluous voice, he is also a fine actor and he used both of these rare talents to treat his audience to a magnificent portrayal of the 14th-century Doge of Genoa.
Opera Japonica 2005
However, of an entirely other caliber was the baritone. Lado Ataneli achieved singing the admittedly demanding role of Gérard with passion and tremendous volume using exclusively magnificent legato. His ability to modulate his seamless, noble and ear-melting baritone tones make him believable as the son of a servant of the haughty aristocracy who carries on as a truly idealistic participant of the revolution. His renunciation of the beautiful Maddalena whom he madly desires is truly moving; out of his love for her he decides to try to protect Chénier, who has been accused, and to save them both. Ataneli’s Gérard is not only a hero and a rival of the tenor, conforming to the operatic tradition, but, above all, he is a man for whom we feel sympathy.
Der Neue Merker, 7.12.2004
Lado Ataneli as Gérard portrayed with great conviction and vocal brilliance an intelligent, revolutionary lackey who with horror witnessed how the Revolution sacrificed its children. His magnificent baritone dominated chorus and orchestra as well. Stunning!
Der Neue Merker, 12.06.2003
Lado Ataneli/Gérard has a healthy, strong, impressive voice of the highest quality.
Der Neue Merker, 04.06.2003
Lado Ataneli is a powerful, overwrought, dramatic revolutionary Gérard (commanding in his "Nemico della patria")
Kronen Zeitung, 03.06.2003
Also celebrated was the baritone Lado Ataneli, who portrayed Gérard more as a careerist than as a broken revolutionary.
The Georgian Lado Ataneli was vocally an elemental force, and for me was the absolute star of the evening. Ataneli linked himself to the great representatives of this role. He simply sang every note from beginning to end magnificently.
Der Neue Merker, 01.06.2003
Debutant Lado Ataneli made a martial Germont, praising Violetta's "nobili sensi" in the same belligerent tones with which he burst in, and delivering a hectoring rather than seductive "Di provenza". A striking man, Ataneli has a taut, healthy sound with an easy top and first-legato, and in the right roles he should prove a valuable addition to the company.
La Traviata - Opera News, June 2003
There was reason to restore the cuts, because the Met had singers who could do them credit... And as Germont, Lado Ataneli, a Georgian with a beautiful, easy Verdi baritone, had a company debut to be proud of.
The New York Times, March 1, 2003
Cavalleria Rusticana / Pagliacci
Lado in a doublebill! Fantastic!
But the dark character of the evening, first cart-driver then prologue singer and villain, had fantastic qualities. Lado Ataneli doesn’t only sing with powerful, dark tones, which are audible from top to bottom, but also looks great and heats up the opera house temperature to a true southern climate.
Der Neue Merker, 03.02.2003
The double-casted singer was Lado Ataneli. As Alfio he was a gravely ill man who defends his honor until his last step, and as Tonio, an exceptionally evil man who, at the end, is deeply shaken. He does it all with a wonderfully suited great voice. There is much to remind one of Aldo Protti.
Der Neue Merker, 30.01.2003
The event of the evening was Lado Ataneli’s Alfio, a whip-cracking cart-driver with a powerful, expressive voice. In the duet with Santuzza he achieves great dramatic form.
Lado Ataneli impressed the public with his magnificent prologue, crowned with an explosive high A-flat. He ably expressed the character traits of Tonio and outstandingly sang the duet scene together with Krassimira Stoyanova.
Der Neue Merker, 26.01.2003
The audience, however, was mostly enthusiastic about Lado Ataneli as Germont. Great and imposing in his appearance, one should not overlook his excellently executed interpretation. He uses his large and strikingly beautiful voice with subtlety and allows one to feel.
Der neue Merker, Jänner 2003
Un Ballo in Maschera
The culmination of the evening was the enthralling scene with Lado Ataneli. With an extremely powerful voice that is appealing in every range, I find his timbre ideal for this role. He skillfully sang the first act aria “Eri tu” with great expression and magnificent lyrical passages, and crowned them with brilliant high notes. In the revenge trio Ataneli showed his great musicality. For me he is the perfect René. I hope that this singer will continue on his path.
Anton Hoffmann - Der Neue Merker, Dezember 2002
Able to get more out of the landed aristocracy is Count René of Lado Ataneli. The manner in which the Georgian lets out his voice is absolutely remarkable. In particular, "Eri tu" was pure joy. At the end there was much cheering and many flowers for Ataneli.
Der neue Merker, Dezember 2002
One of the healthiest, roundest, most mellifluous voices on the planet and he sang the title role wonderfully
L.A. Times, October 2002
Lado Ataneli in the title role makes for a first-rate Nabucco. His voice is clear and powerful, with glittering high notes and an irreproachable legato.
Los Angeles, October 2002
"....and LADO ATANELI makes generous use of his rich voice material. There were moments when the excitement took your breath away.
Orpheus Oper International, April 2001
Un Ballo in Maschera
"With his full-flowing baritone and his impressive emotional input, LADO ATANELI can already quite safely list the part of Renato among the highlights in his repertory.
Orpheus Oper International, March 2001
However, Georgian baritone Lado Ataneli shows incredible power in all registers and sounds pleasant to the ear even during the wildest fortes. Here is a singer who can (and will!) continue the great tradition of Bastianini, Bruson und Co.
Der neue Merker, March 2001
Cavalleria Rusticana & I Pagliacci
In both operas there was one phenomenal singer: young Georgian baritone Lado Ataneli. In the part of Alfio in Mascagni's work he played the part of the cunning, imperturbable macho; in the prologue to Bajazzo he changed into a matter-of-fact, strikingly dramatic speaker, then changed yet again into Tonio, the clumsy, crippled demon and the farcical jolliness of Taddeo in the play "Spiel im Spiel": Four clearly defined and clearly different masks as the possibilities of a major talent, as the visiting cards of a vocalist who intonates his parts so surely that he might be sleepwalking.
Un Ballo in Maschera
"....Georgian baritone Lado Ataneli personfied Renato in a truly excellent manner
Expansion December 8, 2000
"Magnificent baritone Lado Ataneli, who interpreted his two arias splendidly and gave a strong, competent as well as acoustically beautiful performance.
La Vanguardia, December 6, 2000
"As for Lado Ataneli - he is the Verdi baritone we were waiting for after Cappucilli and Bruson retired."
Le Canard Enchaîné, September 13, 2000
"The largely restructured casting allowed Georgian baritone Lado Atanali to make his debut at the Opéra de Paris in the title part. A beautiful Verdi baritone that knows how to bring out subtle nuances, both heroic and touching."
Le Figaro, September 12, 2000
"Lado Ataneli .... has proved to be a specialist on Verdi during the first half of this season.
Lado Ataneli impresses with his balanced voice in all registers. No matter how far up the part takes him, Atanelis baritone sounds free, effortless, clear.
Frankfurter Allgemeine Zeitung, May 2, 2000
Un Ballo in Maschera
"Lado Ataneli in the role of René is a worthy partner. The singer from Georgia has a highly cultivated timbre in his baritone and is, without any doubt, about to embark on a global career.
Der Neue Merker, May 2000
"...Lado Ataneli with his dark, heavy baritone is in high demand everywhere.
Berliner Morgenpost, Friday, April 28, 2000
"In this season, Ataneli is increasingly proving to be the greatest treasure in the ensemble of the Deutsche Oper
Tagesspiegel, March 24, 2000
"In the premiere, Lado Ataneli sang the part of padre Germont and gave a subtle portrait of his development from a strict moralist into a man who has the courage to rise above himself. His magnificent, dark voice also contributed to a truly extraordinary performance.
"... Lado Ataneli, who does not render the part of Alfred's egocentric father with biting terseness, but with a radiant belcanto warmth and noble composure."
"... the audience admired Lado Ataneli' s extraordinary baritone, so excellently made use of by the singer a Macbeth, a Carlo, a Renato of the very first order, a singer with culture and taste, elegant phrasing and a vigorous, virile timbre the likes of which have not been heard for a long time, underlined by the singer's handsome appearance and tall stature."
Orpheus, January 2000
"In the role of Padre Germont, Lado Ataneli comes across as a great (vocal) cavalier of the old school, a powerful, yet also velvety smooth baritone."
Berliner Morgenpost, November 21st, 1999
Star of the evening was without a doubt LADO ATANELI, whose broad, superbly led voice and subtle acting showed all the glittering, eroticising facets of Iagos character and made not only the demonic credo into an unforgettable moment.
Orpheus, August/September 1998