Reviews
Victor Sgarbi achieved incredible success and received great critical acclaim. Some of his most successful roles were Don Giovanni, Macbeth, Germont, Figaro, Malatesta and Tonio.
Victor Sgarbi has a lot of fun with his role as The Devil and, yes, he probably does have the best tunes - Gary Naylor - Broadway World - Aug/23
Then comes the splendid entrance of Victor Sgarbi, purporting to be a priest. Something about Sgarbi’s brimming energy signals he’s not who he says he is, as he unpacks his crucifix and chalice from his suitcase with all the aplomb of a travelling salesman. And indeed it transpires that he’s Demonio, preying on the dying to try to win their immortal soul for Satan. Michael Walling’s direction makes a lot of the wonderfully surreal action that follows the discovery of Demonio’s true identity, which ends with the nurse and doctor trying to garrotte him with the line from Loyola’s drip. It’s somewhere between a medieval mystery place and pantomime. The Review Hub - Jane Darcy - Aug/23
"In excellent voice, Victor Sgarbi relishing his role as his character's passions raise." (Germont) - King's Head Theatre - La Traviata - British Theatre - Oct/18.
"Victor Sgarbi gives a sturdy performance. I thought there was a 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 situations rather than your traditional evil and domineering father figure." King's Head Theatre - Traviata - Frank McHugh - Arthurs Seat - Oct/18
"The ensemble numbers were rock solid and Victor Sgarbi as MP Sinclair (Germont) is a reliable slimeball - King's Head Theatre - La Traviata - Culture Whisper - Oct/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 - Oct/18
"...while the charm of Victor Sgarbi as the permanently amorous Giovanni won sympathy against the odds.
Without props and atmospheric context, Heritage Opera was entirely heroic." Louise Schweitzer, 13/06/2016 - For Don Giovanni, Brighton Open Air Theatre
"... a performance that effortlessly matched up to Brazilian Victor Sgarbi’s swaggering, manoeuvring and utterly ruthless Don.
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 would land him in. Giovanni’s and Leporello’s exchange of recitative was just one of many fine quick-fire battering..." Roderic Dunnett, 25/06/2016 , for Don Giovanni, Oxford.
"But it’s after the interval that the heart of the show really shines: Tony Harris, as himself, interviews our two singers (lyrical Brazilian baritone Victor Sgarbi, and Purley-born tenor Daniel Joy) as themselves, talking about how they became opera singers, and taking audience questions. Here Sgarbi and Joy still sing a couple of arias each, chosen personally from their own repertoire, while telling their stories with self-effacing openness. The myriad paths to opera – Sgarbi started out as a successful dentist and maxillofacial surgeon in Brazil, before selling everything he had to go to music college – are humbling and fascinating.
As an audience member, it’s all too easy to forget the level of skill, struggle and dedication needed to succeed in the super-competitive, thoroughly unlucrative world of opera.."
Operissima, Charlotte Valori, "Boys from Boheme", 13/07/2015
"...Victor Sgarbi also impresses as the lecherous and jealously vengeful Tonio." Donna Kelly - I Pagliacci, Royal Northern College of Music -4/10/2014
"Victor Sgarbi as a charming Escamillo gives us a matador with a bold baritone presence" Mary Nguyen, LDN Card, 7/7/2014.
"As the brutal Polyphemus, Victor Sgarbi displayed a strong presence and his aria “O ruddier than the cherry” was deliciously executed."
Nahoko Gotoh, Bachtrack, 5/11/2013
"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, 9/11/2013
"Victor Sgarbi as the maestro gave a well-developed performance and was a convincing character. (First the Music then the words, Salieri)
John Bird , 26/08/11
"Restraint and a truly well-placed baritone voice were a major contribution from Victor Sgarbi the Turk of the title."
Barry Grantham ,7/2009.
"Opera singers to look out for." (In regards to Salieri, First the Music then the words)Peter Woolf , for Musical Pointers on 28/08/11.
"Restraint and a truly well-placed baritone voice were a major contribution from Victor Sgarbi the Turk of the title." Barry Grantham. 7/2009.
"In ’16 Bars’ Julia Buckley and Victor Sgarbi duet together and I must say harmonise well". Tremayne Potter, UK Theatre Magazine, 11/7/2009.
"In 'Can We Go Dancing?’, ‘My Heart Bleeds’ and ‘Do You Remember? One could compare the vocals of Victor Sgarbi to that of Jonathan Pryce" Tremayne Potter, UK Theatre Magazine 11/07/2009.
"o primo Kelvin e o tio Ernie (Victor Sgarbi, que voz!) foram excelentes (tanto no canto quanto nas atuações)". ( referente ao Musical Tommy 2006 - Folha de Sao Paulo)
