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Adina / Wexford Festival Opera:

Manuel Amati, Tobia in La cucina e Alì in Adina, are talented and vocal. - L'Opera 

Zeno and Tobia were played by baritone, Sheldon Baxter and tenor, Manuel Amati. Both produced solid performances. Baxter acted out the part energetically, his singing was agile and clear. Amati possesses an engaging stage presence with an appealing vocal timbre.

The Caliph's trusted friend, Ali, was played by Manuel Amati, who showed off his tenor in fine style. He possesses a sweet sounding voice, which is securely founded, although he needs to improve his projection if he wishes to reach his full potential, which is certainly significant. - Operawire

Italian tenor Manuel Amati employed his firm and focused tenor effectively, as the eunuch, Alì. - Opera Today

Sheldon Baxter und Manuel Amati überzeugen als Zeno und Tobia mit flexiblem Bariton beziehungsweise leichtem Tenor. Amati legt den Gehilfen dabei etwas verträumt an.

Manuel Amati legt die Partie des Dieners Alì sehr effeminiert mit weichem Spieltenor an und zeigt sichtliches Interest am Bräutigam auf der Hochzeitstorte. - Online Musik Magazin

Great support from the Ali of Manuel Amati and Mustafa of Emmanuel Franco. - Opera Spy

 

Il Guercio di Puglia / Alberobello - Conversano:

Manuel Amati also a very young talent reported by us, who has completely solved a complex character to whom the direction has also entrusted not a few moments of transformation that the artist, son of the Academy of the Maggio Musicale Fiorentino, has rendered so well that he the audience in raptures. - The Opera

Manuel Amati (Tarsia), perhaps the most seductive on the scene, is a born performer and has a voice that, even if it can be improved in certain registers, immediately catches the listener's attention due to the quality of the timbre. - Music magazine

 

 

The Extravagant Misunderstanding / Rossini Opera Festival:

The other role equipped with sorbet is more than a supporting actor, that is deus ex machina on which a lot of stage rhythm depends: the interpreter of the part of Frontino, the almost beardless tenor Manuel Amati, is an actor who tickles the his own lines and a singer with the credentials to go far, far, far beyond. - The Corriere Musicale

Together with the unleashed (...) and Manuel Amati, Frontino completed a cast with all the trimmings. - The Opera

The mercurial, towering Frontino by Manuel Amati, authentic deus ex machina of the extravagant stratagem. - Connected to the Opera

The couple of servants who architects the extravagant misunderstanding are luxurious: Claudia Muschio is a Rosalia with great vocal skills and Manuel Amati a confident and facetious Frontino. - Operaclick

Then, the couple of servants are very hilarious: Claudia Muschio, like Rosalia, is a sensible and determined housekeeper, while the unleashed Manuel Amati weaves the plots of Frontino with that dose of recklessness that is the pepper of events. - Musical Bee

In addition to the two skilled "servants" Rosalia (Claudia Muschio) and Frontino (Manuel Amati), very effective on stage. - Klpteatro

Manuel Amati's tenor, as the servant Frontino, was perhaps less projected, but always elegant, and his performance sparkling and funny. - Bachtrack

Manuel Amati after the Valle d'Itria Festival also wins the ROF. Canta Frontino, a prototype of Figaro, a factotum, who tries to foster the love between Ermanno and Ernestina. The curtain rises and catches Frontino and Rosalia in excessive amorous embraces, making the whole audience understand the level of the libretto.

Manuel Amati with his clear tenor voice draws an excellent character who is always busy making and undoing. His short aria "Vedrai soon nascere" is sung with the right verve and beautiful timbre. Amati is to be rewarded for having made himself available to replace the ailing Xabier Anduaga in the Soirées musicales concert by precisely learning the part in two days and reporting a personal success. - The Talking Trill

The playful effect is evident from the first scene, when the servants, the talented Claudia Muschio (Rosalia) and Frontino (Manuel Amati) are caught having hard sex, made even more exhilarating by the magnificent vocal performances. Exactly, from Muschio e Amati - Pu24

The cast is completed by the deus ex machina Manuel Amati in the role of the servant Frontino: also for him the scenic vivacity went hand in hand with the vocal brilliance. - Friends of Net Music

Le couple de serviteurs accomplice de son amour trouve en Claudia Muschio et surtout en Claudia Muschio et surtout en_cc781905-5cde-3194-bb3b-136bad5cf58d , des interprètes sachant rester dans les limites du comique déterminé par la mise en scène. - Opera Forum

Les deux valets Claudia Muschio, (Rosalia) et Manuel Amati (Frontino) forment un couple type des valets de comédie, déchainés, très à l'aise en scène et vocalment bien en place. - Wanderersite

Soirèe Musicales / Rossini Opera Festival:

The other strong point of the poster, which ranks all "former" members of the Rossiniana Academy, would have been the presence of Xabier Anduaga, who revealed himself in Pesaro in the past years (Il viaggio a Reims in 2017, Ricciardo and Zoraide in 2018) and well deserved first prize in the last Operalia competition. Unfortunately, however, an indisposition did not allow the very young Basque talent to perform, promptly replaced by his colleague Manuel Amati, to whom the role of factotum solver evidently also wears the role of Frontino in the extravagant Equivocal. Between one performance and another he studies and rehearses a program that sees at least half the tenor as absolute protagonist and, before running to the Vitrifrigo Arena for the replica of the opera, he saves the concert, with enviable promptness of spirit and musical flexibility. Chapeau. - Ape Musicale

The Fundamental Laws of Human Stupidity / Maggio Musicale Fiorentino:

The four performers on stage are all very good: the tenor Manuel Amati, in his early twenties, gives shape and voice to the Stupid, presenting himself as a Harlequin in a pop key, with a yellow shirt, tie and a suit whose diamonds are nothing but the deconstruction of the old Rai logo of the transmission technical tests. Obviously, mobile phone always in hand and the obsession of selfies, mechanical gestures and, above all, a very steady line of singing, with a clear hue and inclined to bel canto, projected towards the acute comic imprint. -136bad5cf58d_- Connected to the Opera

Carmen / Maggio Musicale Fiorentino:

Good and precise Dario Shikhmiri (Dancaire) and Manuel Amati (Remendado), so that the quintet succeeds very well. - Operaclick

The combination of smugglers is also effective in the clear baritone timbre and the acting verve of Dario Shikmiri, a cynical and ruthless Dancairo, and in the subtle but penetrating tenor voice of Manuel Amati, Remendado of great scenic dynamism. - GbOpera

The Barber of Seville / Opera Giocosa of Savona:

The very young Almaviva of the tenor Manuel Amati struck for the elegance and the particularity of the timbre. - The Opera

Twenty-two year old Manuel Amati, a young offspring from Martina Franca, is not at his first Almaviva and one feels that, despite not having great vocal depth, he has technique and correct Rossini approach. It is also felt that his ideal model is the stellar Juan Diego Florez and we therefore wish him, sooner or later, to reach him by daring for the terrible rondo "Stop resisting" spared him by Maestro Sisillo. - The Music Stand

The Count d'Almaviva / Manuel Amati makes the beautiful "darling" with gusto for love even a Che Guevara in C minor. - Newspaper of Savona

The Generous Competitions / Giovanni Paisiello Festival:

Manuel Amati's Berlicco is also exquisite, a tenor with a unique timbre who is ringing a series of deserved successes both for his vocal cleanliness and for the actor's generosity that distinguish him.

Last to be presented on stage, the Italian merchant Don Berlicco is a vain and a pathological narcissist, with a sumptuous set of adorable Versace scarves and Luis Vuitton bags, which also act as a very fashionable sheath for his fearsome foil. Martinese tenor Manuel Amati, true promise of opera, is perfectly at ease in interpreting this character, of half character, who flies and flickers from love to love: for absolute transparency even in the most daring textures, with the two arias ( «My heart is at stake» and «Dear Gelinda amabile») ensures a well-deserved success. - Wordsinfreedom

The Journey to Reims / Rossini Opera Festival:

Audience applause for Manuel Amati, tenor, who interpreted Cavalier Belfiore with intriguing effectiveness - Pu24

As for the two tenors, we highlight the pleasant timbre of Manuel Amati - Codalario

 The two tenors in the role of Belfiore are of quality: the cut is beautiful for Manuel Amati, with a rather unmasked stamp. - Anaclase

 

La Dafne /  Festival of the Maggio Musicale Fiorentino:

We would like to mention how, also on this occasion, the work of the Accademia del Maggio Musicale Fiorentino proves to be remarkable thanks to the Performance and the positive growth of Manuel Amati. - The Opera

 

La Cenerentola / Greek Politeama Theater of Lecce:

In the performance of the 13th the very young Martinese tenor showed excellent potential. - The Opera

 

Alceste / Maggio Musicale Fiorentino:

Clear and light, but by virtue of this well differentiated from Admeto, Manuel Amati is a very expressive Evandro. - Operaclick

Mirabile is the result of Manuel Amati's Evandro, precise, attentive and expressive young artist of the Accademia del Maggio - Oltrecultura

Admeto's confidante, Evandro was played by Manuel Amati, an artist from the Accademia del Maggio Musicale Fiorentino, who acquitted himself in fine style, producing a well-acted, well-paced portrayal. His is a light tenor with a pleasing timbre which he used with a great deal of expressivity. - Operawire

Bravo also Manuel Amati, Evandro very young, gifted with taste and musicality able to guide a fast and safe growth of the vehicle. - Music Magazine

 

La Favorite / Maggio Musicale Fiorentino:

From the Accademia del Maggio also comes Manuel Amati with a slightly petulant stamp (which nevertheless does not disregard Don Gaspar)   but very musical and very correct. - Operaclick

Corrected the rehearsals by Francesca Longari (Ines), from the line of elegant singing, by Manuel Amati (Don Gaspar). - GbOpera

Die konventionelle Inszenierung, in der eigentlich nur der Intrigant Don Gaspar (von Manuel Amati mit scharfem Charaktertenor in die Nähe eines sich windenden Spoletta gebracht) sich um eine prägnante Darstellung bemüht, alle anderen sich eher in einer haluffkonzerten Opera

Francesca Longari and Manuel Amati, artists from the Accademia del Maggio Musicale Fiorentino, were parted in the minor roles of Inès and Don Gaspar. Amati showed himself to be a very good actor. In his brief time on the stage, he managed to portray Don Gaspar as thoroughly dislikable and sinister creature. He backed this up with a fine vocal performance, inflecting the voice with sufficient venom to convince in the role. - Operawire

Women avenged / Festival of the Itria Valley in Martina Franca:

He is originally from Martina but attends the Florentine Academy Manuel Amati, a Conte Bellezza with a convincing stage presence, a light tenor with a beautiful clear and agile timbre. -Connected to the Opera

The real revelation of the evening was the performance of the very young tenor just twenty, originally from Martina Franca, Manuel Amati, student of the Maggio Musicale Fiorentino Academy. Endowed with a voice with a crystalline emission typical of light tenors, he displayed agility and perfectly focused pointing with an impeccable musicality, demonstrating certainty and maturity unusual for such a young artist. - Operaclick

Manuel Amati shines on the scene, tenor from Martina of the Celletti Academy (actually of the Maggio Musicale Fiorentino), gifted with a valuable voice for original timbre, excellent technique, generosity of singing, qualities that give hope for a good future to be tried in more difficult scores. Someone in the audience ventured the comparison with the young Flórez. I would advise caution, but I would have well-founded hopes. - The Opera

Extremely confident, even scenically, he outlined a very vain Count Beauty, perfectly entering his role. -  Operaclick

Martinese Manuel Amati, a tenor of grace already projected into an international career in various theaters in Italy and Europe, made his debut as a protagonist in his native land, obtaining authentic, well-deserved ovations. His voice is agile in the colorature, has a precious timbre and is stylistically flawless for this operatic repertoire. If you add to this a perfect diction in fast recitatives (which the opera players of the time defined as "talking" or "current") and a marked verve as an actor, you can be sure that this boy will be destined for a brilliant career. - GbOpera

From the Accademia del Maggio Musicale Fiorentino comes the tenor Manuel Amati, already appreciated in his previous rehearsals, who from the almost beardless age of his twenty-one years demonstrates innate stage talent and a vocality to be followed carefully that will find space in the light lyrical repertoire. - Nosy Traveler

Manuel Amati is the count Bellezza (tenor), _ cc781905-5cde-3194-bb3b-136bad5cf58d__cc781_b3905-baddie-stamps, 136bad5cf58d__cc781_clear-stamps -5cde-3194-bb3b-136bad5cf58d_  excellent diction. - Belcantoedintorni

The twenty-year-old Manuel Amati, originally from Martina Franca and currently working at the Accademia del Maggio Musicale Fiorentino, who in the role of Count Beauty who has effectively married vocality to stage presence. - The Southern Gazette

The tenor Manuel Amati endows Count Bellezza with a silvery tone ideal for the role.  The score is comfortably within his vocal range, which enables him to handle superbly the demands of the acting, including a challenging dance with Ferramonte's valet (the ingenious Marco Fragnelli, who mimes this and other silent roles and who occasionally breaks the fourth wall to underscore the themes' continuing relevance) ._ cc781905-5cde-3194-bb3b-136bad5cf58d_- Seeandheard

Excellent Manuel Amati who finally makes his debut as a protagonist in his hometown. Tenor very suitable for the 1700s with his voice not large but well educated. His agile voice and light timbre coicinde to this repertoire. Always careful to look at himself in the mirror and gaze at himself, he changes tactics to recover credibility: these psychological facets have been well expressed by Manuel Amati by extroverted singing before and more intimate later. Perfect intonation and softness of the singing. Future glories are foreseen. - The Talking Trill

Manuel Amati has amazed the audience with his stage presence, comic in the depiction the beautiful conte Bellezza 'lost in himself' and in his virtues. Amati's clear voice with soft tones makes him a 'tenore di grace', and it will be interesting to hear him in more challenging roles. - Kulturcompasset

La Scuola de'Gelosi / Maggio Musicale Fiorentino:

Well placed in the role of the Lieutenant, Manuel Amati demonstrates a preparation conquered with conscientiousness and skill. - Connected to the Opera

Complete the cast with honor Manuel Amati, who faces the role of Lieutenant with elegant confidence in both singing and acting .  Operaclick

twenty year old tenor of high hopes Manuel Amati, insinuating and mercurial Lieutenant. - Nosy Traveler

The tenor Manuel Amati, musical and vocally suited to the role of the lieutenant, a sort of Don Alfonso (Cosi fan tutti) in a feel-good version. - Vvox

The only Italian male voice is the young tenor Manuel Amati in a role of primary importance, as the voice of Enlightenment rationalism, decisive in the recomposition of the social and family roles represented by couples in the throes of jealousy and confused feelings. This role was brilliantly fulfilled for  clear vocality and stage presence. - The Talking Trill

Manuel Amati's Lieutenant is very good, showing off an elegant and well-managed voice, the very young tenor seems, and we hope, should have a bright future. - Operalibera

Il Turco in Italia / Municipal Theater of Piacenza:

The very young tenor Manuel Amati is an Albazar that the forced Neapolitan stay has transformed into a lively and alluring urchin. Sing well, with ease Operaclick

Manuel Amati's Albazar is punctual and pleasant, here deprived of the air of sorbet in the second act (not by Rossini, by the way), but always on stage, silent shoulder of the gags with the poet. - GbOpera

Everyone is to be commended, from the first to the last: starting precisely with the mercurial Albazar of the very young tenor Manuel Amati. - Impiccione Viaggiatore

The director gave space to Manuel Amati (Albazar) in dry recitatives with various dialogues with the poet. Amati then acted making his role very funny, however sorry that his only aria was cut (surely only for reasons of dramatic rhythm). - The Talking Trill

 

Opportunity makes the Thief / Teatro Regio di Parma:

Next to him, a true tenor of grace, is Don Alberto by Manuel Amati, minute for physique and with clear but very sure high notes: even with some intonation uncertainty, he offers excellent cantabili. - GbOpera

 

Rigoletto / Giuseppe Verdi Theater in Busseto - Verdi Festival:

The performance by Manuel Amati (Matteo Borsa) is interesting with a good energy. - Artinmovimento

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