Victor Sgarbi, Baritone, Opera Singer based in London, As Don Giovanni. He has performed lead roles, in La Traviata, Un Ballo In Maschera, Il Trovatore, and Aida.

Victor Sgarbi Baritone, in the opera Un Ballo in Maschera, Opera Holland Park.

"In the first part of the piece, Ignacio encounters two Angels and a Demon: but the outcome of their struggle for his soul is never really in doubt, and the Demon emerges as a comic character, deliciously performed at the British premiere by baritone Victor Sgarbi" - Brompton Little Oratory- Zipoli's San Ignacio de Loyola - Magazine Musical Opinion - 07/22


"Victor Sgarbi gives sturdy performance. I thought there was visible conflict in Sgarbi’s eyes as he convinced Violetta to leave Elijah. It gave an extra dimension to the part of Sinclair, making him seem like a man in complex situation rather than your traditional evil and domineering father figure"  King's Head Theatre - La Traviata - Frank McHugh - Arthurs Seat - 10/18


"Victor Sgarbi blusters his way through as an MP driven by personal ambition that he dresses up with shreds of self-deluding guff about “making a difference”" - La Traviata - King's Head Theatre - Plays to See - 10/18

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"Sgarbi too has a voice well worth hearing: rich in tone, lucidly enunciated, and catching the overriding cynicism of this Spanish rake aptly and cleverly. He strutted to good effect, quite incapable of seeing the fiery doom his grotesque activities will land him in" - Don Giovanni - Manchester - Roderic Dunned - 6/16.



"Victor Sgarbi as a charming Escamillo gives us a matador with a bold baritone presence"  - Carmen - Mary Nguyen - LDN Card - 7/2014.


"Victor Sgarbi also impresses as the lecherous and jealously vengeful Tonio" - Donna Kelly - I Pagliacci - The Public Reviews - 10/14.


"As the brutal Polyphemus, Victor Sgarbi displayed a strong presence and his aria “O ruddier than the cherry” was deliciously executed" - Nahoko Gotoh - Bachtrack - 11/2013


"Victor Sgarbi’s Polyphemus was elevated to more than a farcical villain and his bullish harassment of Galatea was even uncomfortable to watch. The dramatic context was there but the music remained the focus; a perfect marriage of the two aspects of the work" - Joe Richomme - Fringe Opera - 11/2013

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