Victor Cardamone

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“…a delightful and well-characterized cast of singers…

The main attraction of the evening was certainly the singing…

Tenor Victor Cardamone makes for a very fine Prince Tamino,

such a lovely, powerful sound, with such ease.”

— Charlise Tiee,

The Opera Tattler (March 2024)

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“Tenor Victor Cardamone as Prince Tamino presented a

gorgeous and sizable high lyric tenor, singing with a

penetrating heroic quality and chiaroscuro that

bodes well for his future success.

He sang the demanding opening aria

‘Dies Bildnis ist bezaubernd schön’ with

ease, tenderness, and sympathy.”

— Pamela Hicks Gailey,

Classical Sonoma (April 2023)

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“…thrilling…”

— Joshua Kosman,

San Francisco Chronicle (December 2022)

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“…his voice is beautiful, very strong and clear when singing

‘Au fond du temple saint’ from Bizet’s Les Pêcheurs de Perles…”

— Charlise Tiee,

The Opera Tattler (August 2021)

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“The gut-wrenching confession/vow of revenge between

Donna Anna (Megan Kasanders) and Don Ottavio (Victor Cardamone)… some of the finest operatic acting I’ve ever seen,

using the limitations of the staging to heighten the mood.”

— Richard Sanford,

Columbus Underground (April 2021)

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“...and Victor Cardamone,

as The Little Old Man,

made a hilarious entrance on stilts and pointed hat,

to deliver arithmetic lessons that were the stuff of nightmares.

A hurricane of numbers erupted across the screen,

climaxing in strobe lighting throughout the hall.”

— Janelle Gelfand,

Cincinnati Business Courier (February 2020)

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“As Jeník,

Victor Cardamone’s sweet tenor was

ideal in the romantic moments, and

he also had the power and ringing high notes to

convey his resolve. In addition,

he delivered his lines so clearly that

the projected titles were unnecessary.”

— Janelle Gelfand,

Cincinnati Business Courier (November 2019)

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“...and Victor Cardamone as Jose and the Barber...

was a perfect foil for Don Q(uixote).”

— John Lambert,

Classical Voice of North Carolina (July 2016)

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“Tenor Victor S. Cardamone’s voice was bright and

well-suited to the extensive runs and range of a work by Handel.

His pitch and tone quality were perfect,

and the ornamentations were performed with alacrity.”

— Leanne Heaton,

Butler Eagle (December 2015)

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