Anthony Roth Costanzo

Akhnaten in Akhnaten at LA Opera
"The superstar countertenor Anthony Roth Costanzo took total possession of the title role. Inevitably, there was much chatter about the fact that, in Act I, he appeared stark naked, facing forward. (A patron was heard to explain, “Otherwise, we wouldn’t know it’s a man singing.”) Anatomical revelations aside, Costanzo embodied an otherworldly ruler poised between idealism and madness, his voice a prism of brilliant colors."
- Alex Ross, The New Yorker

"A singer such as Anthony Roth Costanzo, strong of voice and feisty onstage, is entirely believable, whether undressed or in his Pharaonic hoop skirt. But he is most alluring in a gossamer gown, standing still under a luscious red orb, bringing stunning stillness to a hymn to the sun."
- Mark Swede, The Los Angeles Times

"Anthony Roth Costanzo, a strong countertenor with remarkable stage presence, delivered a beautifully emotional performance."
- Joshua Walker, The Huffington Post"

"Anthony Roth Costanzo shone with a beautiful, penetrating countertenor as Akhnaten"
- Richard S. Ginell, Classical Voice America

Anthony Roth Costanzo’s performance in the title role will certainly become an interpretation that will be spoken about in hushed awe for some time to come...His performance was remarkable for his focus and intensity, vocal and physical dexterity, and delicate shading he brought to the music."
-Parterre Box

Ouroboros Trilogy, Beth Morrison Productions / Majestic Theater
"The extraordinary Anthony Roth Costanzo explored every nuance of the quixotic Xiao Qing. Dragging a giant wheeled tail that protruded from his skirt, Costanzo allowed the appendage to inform his movement rather than impede it as he glided across the stage, head tilted at a watchful angle. His burnished countertenor was more expressive and powerful than ever"
- Joanne Sydney Lessner, Opera News

"Anthony Roth Costanzo, appearing as Xiao Qing in both “Naga” and “Gilgamesh,” was marvelously emotive. Singing a haunting, expressive Act II aria in “Naga” and soaring modal themes in “Gilgamesh,” he was at once commanding and vulnerable"
- Zoë Madonna, The Boston Globe

"...the Green Snake, sung with great artistry by Anthony Roth Costanzo...brilliant"
- Keith Powers, WBUR

Chamber Music at the Spoleto Festival USA
"Costanzo is a force of nature who has been making a name for himself wherever he goes, partly because of his stunning voice (and his impeccable control of it) and partly because of his magnetic stage presence and acting abilities. So the chamber series was kicked off with two Handel arias, “Rompo i lacci” and “Ombra mai fu.” The first was full of baroque fireworks, handled perfectly by Costanzo, who sang the runs faster than I thought possible. And as if that weren’t impressive enough, his slow, plaintive interpretation of the familiar “Ombra mai fu,” imbued with an exquisite, prayerful quietude, was the most beautiful thing I’ve heard in a long time. Costanzo is a skinny fellow, yet he is able to spin out long phrases that seem to require much more air than his compact lungs could possibly hold."
-Adam Parker, The Post an Courier

"His interpretation was delivered strongly, with some wild technical trills and dare-devil attitude...And then this sound. Costanzo became an instrument, and the entire group played so softly and sustained such long melodic lines, it was breathtaking. It felt indeed as if we were all floating through space or as if we had come upon a spider’s web sparkling with dew in the early morning and went for a ride, following its gossamer thread. Costanzo’s voice was transformed – instead of pushing out a song, which is what we heard in the equivalent of a countertenor’s “belting” of standards, this piece drew people in so that it felt delicately and beautifully fragile. We had to breathe with him. As a performer, one dreams of lifting an audience and transporting people into that kind of emotional suspension. And that is the very best art can do."
Susan Galbraith, DC Theater Scene

La Dolce Morte at the Metropolitan Museum of Art with the International Contemporary Ensemble
"Mr. Costanzo again demonstrated that he is one of the best actors among today’s opera singers...Sung here with vulnerability and yearning by Mr. Costanzo."
- Anthony Tommasini, The New York Times"

As Opheus/Orfeo in Orphic Moments at National Sawdust

"Under the auspices of National Sawdust and the Manhattan School of Music, the inventive director and visual artist Doug Fitch and the superb countertenor Anthony Roth Costanzo presented “Orphic Moments"...It was thrilling, even sometimes frightening, to be so close when Mr. Costanzo, who combines a powerful voice with a charismatic presence, sent phrases soaring in both works. Mr. Costanzo, a magnificent Orfeo..."
- Anthony Tommasini, The New York Times"

"Costanzo, who has an instrument of inexorable beauty...Costanzo’s voice is virtuously seamless, robust and ethereal throughout his range. His “Che farò senza Euridice,” in Gluck’s Orfeo ed Euridice, was ideally touching, as was his Orfeo, a much different character than the Orpheus he created in Aucoin’s Orphic Moment.
- Maria Mazzaro, Opera News

"More importantly, I've never admired Costanzo's singing more. He was good in the Aucoin, but in Gluck, he used the intimacy of the venue to assume a vocally confessional manner, particularly in the ornamental cadenzas, which were colored and phrased with breathtaking depth of emotion. Though he can project big dramatic moments with almost piercing use of his countertenor voice, the gradations of softness were the work of a great artist."
- David Patrick Stearns, WQXR

Costanzo is an artist of the highest caliber—smart, brave, and versatile—so, it was a pleasure to see the singer indulge an even more profound dimension of creative expression as producer. His interest in the Orpheus myth speaks more broadly to the concerns of singers and performing artists alike: their inextricable subordination to music and theater’s ephemeral temporality, the rhetorical agency of artists, and the costly demands of aesthetic excellence. These are important and indefatigable points of conversation, and Costanzo’s appreciation for the discourse surrounding the myth of Orpheus highlights his good judgment as a practitioner and innovator of the stage. However, in this instance, my generous compliments for the singer’s intellect only matter if his voice matches his brain. Thankfully, Costanzo’s countertenor was wonderfully expressive—fervent in moments of extreme pain, sleek and cold at junctures of refusal and detachment. As an actor, the singer has that quality which one rarely finds on the operatic stage: stillness. His interiority poured from some central core, rendering the singer vulnerable, spontaneous, and organically dynamic."
Patrick Clement James, Parterre

"The impassioned power of Mr. Costanzo’s voice suggested that Orfeo’s arias are all about performance"
Heidi Waleson, The Wall Street Journal

As Akhnaten in Akhnaten at the English National Opera

"The singing is superb, most notably by countertenor Anthony Roth Costanzo whose robing, enthronement, hermaphrodite sex-change, and death all become breath-taking theatrical moments."
-Michael Church, The Independent

" Anthony Roth Costanzo brings to the title role a voice that packs more raw power than any countertenor I can remember, while being weird, other-worldly and totally pure. He shows utter commitment to the role"
- David Karlin, Bachtrack

"Individual vocal performances, too, were powerful as well as aptly cast. The plangent tones of countertenor Anthony Roth Costanzo represented the doomed Akhnaten"
- George Hall, Opera News

"As Akhnaten, counter-tenor Anthony Roth Costanzo, who has previously sung in The Indian Queen for ENO, seemed perfect for the role, his voice not only blessed with the requisite strength, but also of a decidedly otherworldly quality."
- Colin Clarke, Seen and Heard International

Beguiling in his intensity, Anthony Roth Costanzo makes a monarch worth converting for, Tiresias-like in his fluid sexuality...there’s no arguing with the vocal power he brings, holding his own above even Glass’s thickest textures.
- Alexandra Coughlan, The Arts Desk

"The wonderful hymn by the countertenor, Anthony Roth Costanzo (who plays Akhnaten), towards the end of the second act is a particular highlight here."
- C.W., The Economist

"There are a number of things that hold the attention. First, the singing is beautiful, especially from the countertenor Anthony Roth Costanzo in the title role"
- William Hartson, Express

"Anthony Roth Costanzo as Akhnaten has a countertenor voice of such metallic brilliance and precision that his sound seems otherworldly, as befitting the god-like character he is portraying. His performance of Act Two’s Hymn to the Sun is sensational, while no less engaging is his duet with Emma Carrington’s Nefertiti."
- Sam Smith, Londonist

"The cast is fine, led from strength by countertenor Anthony Roth Costanzo"
- Paul Levy, Arts Journal

"Countertenor Anthony Roth Costanzo’s Akhnaten brings a touching vulnerability to his portrayal"
- Martin Coomer, Time Out London

"All are superb, but Costanzo is extraordinary as much for his physical acting as his singing."
- Mark Valencia, What's On Stage

As César in Bel Canto at Chicago Lyric Opera and Roane in Great Scott at Dallas Opera
"The most memorable turn, though, was by the brilliant young countertenor Anthony Roth Costanzo, as a put-upon, underappreciated stage manager. He sang with tensile strength and acted with a stage veteran’s skill. As it happens, Costanzo also appeared in “Bel Canto,” as a teen-age terrorist who, in the course of the long siege, discovers a gift for singing. The moment he broke into a rendition of “Una furtiva lagrima,” he made real the story’s improbable premise that opera could melt a terrorist’s heart. This immensely gifted singer deserves a big new opera of his own."

- Alex Ross, The New Yorker

As César in Bel Canto at Chicago Lyric Opera
"The countertenor Anthony Roth Costanzo was wonderful as the adolescent terrorist César"
- Anthony Tommasini, The New York Times

"The riveting countertenor Anthony Roth Costanzo"
- John von Rhein, The Chicago Tribune

"In his Lyric debut Anthony Roth Costanzo sang with pure and flexible tone as Cesar, the world’s only terrorist countertenor."
- Lawrence A. Johnson, Chicago Classical Review

"...room for others to shine, particularly countertenor Anthony Roth Costanzo, a busy utility player with companies across the country and possibly the most interesting opera singer in all of 2015"

-Ray Mark Rinaldi, The Denver Post

As Roane Heckle in Great Scott at The Dallas Opera and San Diego Opera
"The excellent countertenor Anthony Roth Costanzo brings intelligence and intensity to the role of the no-nonsense, hip-hopping stage manager Roane Heckle."

- Judith Malafronte, Opera News

"Anthony Roth Costanzo, is totally winning as Roane, the stage manager who can’t decide whether he is a realist or a romantic. Costanzo also gets a show stopping number in which he confesses to his non-operatic musical preferences. He can dance too"

- Ian MacKenzie, Opera Today

"A tear and a smile for countertenor Anthony Roth Costanzo"

- Mark Swed, Los Angeles Times

Duo concert with Claire Chase at Sub Culture
"Costanzo and Chase adorned, complemented, and provoked each other, displaying unusual mutual sensitivity to each other’s timbres, gestures and rhythms. Costanzo has a velvety yet powerful sound, an impressive dynamic range, and unusually intense commitment to what he is singing at any given moment. In this innovative, immediately appealing cycle, he put the poems across with startling clarity — obscure allusions, extended metaphors, and all...this was a refreshingly unconventional evening, with music-making of the highest order."

- Joshua Rosenblum, Opera News

George London Foundation Recital at the Morgan Library

Anthony Roth Costanzo won a big, appreciative laugh during his remarks in the encores section of his March 22 George London Foundation concert. "I'm often asked how I became a countertenor,” he said, “and after thinking about it at length, I've realized that the first step is psychological acceptance." Costanzo’s work during the afternoon recital, a duo appearance with soprano Nadine Sierra, showed not just how thorough that “acceptance” has become, but how through his singing he has developed a stage persona of stunning complexity and audacity. In his vigorous physical presence, he dodged the artificiality that can creep into a falsettist’s self-presentation: this was no disembodied voice, but a man in full. And though what we heard didn’t reflect the timbre of a male speaking voice, Costanzo inhabited his sound: when he sang, it was as if he were talking to us.

Costanzo offered an eclectic program. His rendition of “Rompo i lacci” from Handel’s Flavio was a tour de force: its coloratura thrown off with seemingly reckless abandon; its lamenting central section sung with haunting sweetness. He ventured farther from the countertenor mainstream with the three Duparc chansons that made up his opening set. Unless this material is expertly performed, its pastel colors can emerge as so much murk, but Constanzo gave each song shape and meaning. In “Chanson triste,” he inflected the return of the main motif to clearly differentiate it from its first statement: it felt like we were reaching the end of a short but intense emotional journey. And his voicing of the end of both strophes of “L’invitation au voyage” embodied the very concept of “Luxe, calme et volupté.”

In a set of five Liszt songs, he was especially fine in “Über allen Gipfeln ist Ruh,” sung with true innigkeit. But his very finest moment was his encore, “Summertime.” In his emotionally raw rendition of Gershwin’s lullaby, delivered with uninhibited, Jolson-esque body language, Costanzo seemed to embody simultaneously the vulnerable infant and the comforting parent...She provided an inadvertent confirmation of Costanzo’s special gifts when she joined him for two sections of the Pergolesi Stabat Mater, a piece they had sung together at the 2013 Glimmerglass Festival. The music often called for them to sing in canon, trading motifs back and forth. Although Sierra’s work here was firm and accurate, Costanzo consistently offered more detail, giving the phrases an extra degree of contour.
- Fred Cohn, Opera News

As David in Saul at Trinity Wall Street

“The countertenor Anthony Roth Costanzo was utterly riveting as David, singing with a vocal purity and an emotional range that combine forcibly.”
- James R. Oestreich, The New York Times

“Richly nuanced and otherworldly in his portrayal”
- Heidi Waleson, The Wall Street Journal

“The most beautiful singing I’ve ever heard from Anthony Roth Costanzo, full of that moving stillness that is the heart of Handel’s greatest dramatic music. He is a charismatic singing actor.”
- John Yohalem, Parterre Box

Concert with International Contemporary Ensemble at The Miller Theater

“The program culminated in the New York premiere of Folk Songs (2014), performed with subtlety and charm by countertenor Anthony Roth Costanzo…Costanzo approached this pungent, multilingual showpiece as if he were a blank canvas, adapting himself, chameleon-like, to the mood and language of each song. His creamy countertenor was unfailingly expressive, and he proved impressively adept singing in Welsh, Spanish, Italian, and German. He effortlessly tumbled off the English patter of the jaunty “Missus Murphy’s Chowder” and wrung humor and a different point of view from each verse. He built “The Water is Wide” from an evanescent pinpoint of haloed sound until it flowered on top and then receded again to a hint of nothingness. He introduced a darker color for the habañera thrust of “Mi Hamaca,” but some of his most purely beautiful singing came in “Dafydd Y Garreg Wen” (“David of the White Rock”), which was delicately sweet and sad. Rands explained that because he hadn’t written the cycle specifically for countertenor, the refrain of the Yorkshire ditty “On Ilkley Moor Baht’At” sat somewhat uncomfortably in the passaggio. But Costanzo and Co. made a virtue of necessity; after the first few iterations, the instrumentalists pinch hit for him, first playing the phrase, then singing it. Costanzo gave the gently yearning “I Died for Love” a distinctly troubadour feel, and one could almost see his dirndl swing in the Alpine yodeling song “Über d’Alma.” The serenely meditative “Ar Hyd y Nos” (“All Through the Night”) gave way to the most demonstrative song, “La Vera Sorrentina.” Here, Costanzo’s timbre grew brighter and saucier, and he tossed off the Italianate filigree with panache.”
- Joanne Sydney Lessner, Opera News

As Armindo in Partenope at San Francisco Opera

“Anthony Roth Costanzo made an indelible company debut as Armindo. Singing with distinctive, velvety tone and employing keen coming skills that included pratfalls worthy of Buster Keaton, he polished the role of the love-struck prince until it gleamed”
- Georgia Rowe, Opera News

“The young American countertenor Anthony Roth Costanzo made an unforgettable company debut as Armindo…Costanzo shaped his character with an abundance of vocal allure and physical resourcefulness. ”
- Joshua Kosman, San Francisco Chronicle

“As far as I'm concerned, however, the evening's top honors went to countertenor Anthony Roth Costanzo who, as the timid and lovesick Armindo, not only sang magnificently but handled his tap dancing chores and pratfalls as if he had been born to physical comedy (not something one can say about most opera singers)."
- George Heymont, The Huffington Post

"The debut laurels of the evening went to the Armindo of countertenor Anthony Roth Costanzo, who not only sang with point and brilliance but tap-danced with flair and dangled from staircases with élan."
- Allan Ulrich, Opera

“Costanzo performed a brilliant aria while swinging from a staircase”
- Janos Gereben, The San Francisco Examiner

“The standouts for me were Costanzo and Mack. Both delivered their arias with an eye-opening precision, brilliantly executed coloratura and clear, pure sound, while creating flesh-and-blood characters that often touched our deepest emotions.”
- Harvey Steiman, Seen and Heard International

As Eustazio in Rinaldo at Glyndebourne

“It says a lot of Anthony Roth Costanzo’s personal abilities that he managed to charm as Eustazio, a role which is entirely superfluous… [He] captured our attention in his arias.”
- Robert Hugill, Opera Today

“Four strong countertenors are on display … all of them worth hearing”
- George Hall, The Guardian

“Time Mead and Anthony Roth Costanzo … were terrific, both excelling in their big arias in the second act. ”
- Rupert Christiansen , The Telegraph

“Anthony Roth Costanzo contributes a sprightly Eustazio”
- Hannah Nepil, The Financial Times

“Tim Mead and Anthony Roth Costanzo … both excellent”
- Michael Church, The Independent

As Count Orlofsky in Die Fledermaus at The Metropolitan Opera

“A hilarious performance by the countertenor Anthony Roth Costanzo”
- Heidi Waleson, The Wall Street Journal

“ with stage-savvy Anthony Roth Costanzo, (who’s voice projected remarkably well)”
- David Patrick Stearns, WQXR / Operavore

“He sang nimbly and clearly”
- Eric C. Simpson, New York Classical Review

“Costanzo steals the show as the effete Russian oligarch … wows us with his high-flying falsetto”
- Zachary Stewart, Theater Mania

As the alto soloist in Stabat Mater at the Glimmerglass Festival

“Anthony Roth Costanzo, who has graduated from minor roles at Glimmerglass to lead roles and on to the Metropolitan Opera, stole the show with his stunning, sometimes fierce, sometimes mellow countertenor. He can trill on any note he wishes; his dynamic range is remarkable, and asked to dance, he proved himself as physically agile as he is vocally agile. The entire effect was hypnotic and reverent.”
- Robert Levine, Classics Today

“[Costanzo] painted with a finer brush, using his plangent, chiaroscuro-filled tone to create detailed, compelling musical statements”
- Fred Cohn, Opera News

“Fluctuates between somberness and ecstasy, shadow and light: a complex mix brilliantly personified by the soprano Nadine Sierra and the countertenor Anthony Roth Costanzo”
- Steve Smith, The New York Times

“I have long admired Anthony Roth Costanzo, and his countertenor has never been heard to better advantage. Mr. Costanzo can sing with full-throated abandon with no loss of color, his florid passages are dramatically charged perfection, and his introspective musings are achingly beautiful”
- James Sohre, Opera Today

“And there was some fine singing…Anthony Roth Costanzo’s round, warm countertenor in the Stabat Mater”
- Anne Midgette, The Washington Post

“The countertenor in particular sang with remarkable control, stylistic awareness and compelling expressiveness: his ravishing solos furnished the summer’s highlight.”
- David Shengold, Gay City News

“Countertenor Anthony Roth Costanzo’s distinctive, penetrating sound blended well with Nadine Sierra’s softer-grained sorpano”
- Heidi Waleson, The Wall Street Journal

As Petrushka in A Dancer’s Dream with the New York Philharmonic

“And the excellent young countertenor Anthony Roth Costanzo is the hapless Petrushka…If you want to know why in their very different ways Mr. Owens and Mr. Costanzo are such compelling vocal artists, just watch them claim the screen in these filmed segments.”
- Anthony Tommasini, The New York Times

“Too bad Anthony Roth Costanzo’s Petrushka existed only on film; the production showed that his face is the quintessence of the comedia dell’arte.”
Alastair Macaulay, The New York Times

As the alto soloist in The Messiah with the National Symphony Orchestra at the Kennedy Center

“Anthony Roth Costanzo, who was also the voice you will most want to hear. He made quite a splash in the odd countertenor role of Prince Go-Go in Ligeti’s “Le Grand Macabre” with the New York Philharmonic, and he brought a similarly theatrical, even otherworldly, presence to the alto arias…they sat beautifully in Costanzo’s voice.”
- Charles T. Downey, The Washington Post

As Tolomeo in Giulio Cesare with Michigan Opera Theater

“Countertenor Anthony Roth Costanzo as Cleopatra's nasty-piece-of-work brother brought a strong voice and performance to bear.”
- David Kiley, The Huffington Post

“We especially enjoyed rising American countertenor Anthony Roth Costanzo, who was delicious as Cleopatra's evil, smarmy brother Tolomeo.”
- Patty Nolan, The Examiner

“Anthony Roth Costanzo plays Tolomeo, the spoiled brat brother of Cleopatra, with peevishness and fury. His second act aria was a bravura rendition, voice powerful and pitched perfectly; he is a rising star.”
- Michael H. Margolin, Encore Michigan

“Costanzo, mustachioed a la Douglas Fairbanks, made Tolomeo a petulant martinet but never descended into caricature vocally in his three arias, and his cadenzas and ornaments excelled.”
- David Shengold, Gay City News

In concert with Bradley Brookshire presented by Salon Sanctuary

“Mr. Costanzo, a charismatic singer much in demand, whose abundant technical skills are matched to dramatic resources already impressive and steadily growing.”
- Steve Smith, The New York Times

In Suzanne Farrin world premiere with the Mostly Mozart Festival and International Contemporary Ensemble

“Delivered with a stunning combination of beauty and ferocity by the always compelling Anthony Roth Costanzo…The piece began with exhalations and whispers from the wind players and Costanzo, who then continued with trills, tremolos and sibilant vocal effects that finally exploded into rich ringing tone peppered with propulsive consonants. Costanzo fully inhabited Farrin's passionately tortured universe, singing, spitting, panting and groaning, while hovering like a spectral bird of prey above the captive audience.”
- Joanne Sydney Lessner, Opera News

“The singer, here the vibrantly theatrical countertenor Anthony Roth Costanzo, sometimes echoes, sometimes ululates and sometimes disintegrates into a pained, nearly silent scream.”
- Zachary Woolfe, The New York Times

In the 2012 Operalia Competition

“With eight of the 12 finalists being men, the male categories presented a significant dilemma. What to do, say, with singers as diverse as the single-named Mongolian baritone Amartuvshin and three-named American countertenor Anthony Roth Costanzo? … Costanzo, a recent Manhattan School graduate who has already appeared with the New York Philharmonic and the Metropolitan Opera, cast a magical spell with Handel’s Stille Amare from Tolomeo, though the voice lay technically in the female register.
 
The answer, evidently, was to award them both First Prize … A co-win, though, hardly describes Costanzo’s showing in the finals, which was acutely idiomatic without ostentation. Rather than pummeling listeners with virtuosity—he did that in the semifinals with another Handel aria—Costanzo instead went the quiet route. Never once, though, did he confuse hushed volume with lack of intensity. This was not just perfectly placed vocalism, it was edge-of-your-seat drama, the kind of high-voltage, high-register male singing that comes once in a generation.
 
Given the audience response, Costanzo was surely a close runner-up for the male-voice Audience Favorite award. He had my vote for best female voice as well.”
- Ken Smith, Musical America

As Prospero in The Enchanted Island at the Metropolitan Opera

"The ailing countertenor David Daniels was replaced by Anthony Roth Costanzo in the role of Prospero, who brought the house down: a perfect musician, focused voice, excellent projection, and capable of subtle nuances.” [Translation]
- Renaud Machart, Le Monde

As Ferdinand in The Enchanted Island at the Metropolitan Opera

“Other musical transformations were more felicitous … the throbbing string underpinning to “Sussurrate, onde vezzose,” again from Amadigi di Gaula, highlighted Ferdinand’s nobility and sensitivity, which countertenor Anthony Roth Costanzo voiced with clear, open sound and elegant phrasing.”
- Judith Malafronte, Opera News

“An exquisite use of light and shade, ease in treacherous intervals, and a bright, almost girlish sound makes the countertenor Anthony Roth Costanzo’s one aria (Ferdinand’s Gliding onwards) a highlight of the evening.”
- Marion Lignana Rosenberg, The Classical Review

“Anthony Roth Costanzo was the best Handel stylist in the cast and his focused countertenor had potent presence in the theater.”
- Eli Jacobson, Gay City News

“Anthony Roth Costanzo, a fine singer and a successor to Mr. Daniels as a genuine baroque star, is stunning in the small but technically demanding role of Ferdinand. His Act II entrance points toward plot resolution, but also has some of the evenings most florid singing.”
- Paul Pelkonen, Superconductor

“Countertenor Anthony Roth Costanzo was brilliant in the brief but crucial role of Ferdinand.”
- Greg Moomjy, Opera Today

“Lisette Oropesa and wine-dark countertenor Anthony Roth Costanzo were ethereally earthy as the lovers Miranda and Ferdinand”
- Olivia Giovetti, WQXR Operavore

“Her duet (“I have dreamed you” from a Handel cantata) with the Ferdinand of countertenor Anthony Roth Costanzo is sublime”
- Mike Silverman, The Associated Press

“A terrific cast … the countertenor Anthony Roth Costanzo was a sweet-toned Ferdinand”
- Anthony Tommasini, The New York Times

“Countertenor Anthony Roth Costanzo gives a dazzling interpretation of Ferdinand.”
- Jonathan Leaf, Edge Boston

“Soprano Lisette Oropesa and countertenor Anthony Roth Costanzo sing a heavenly duet.”
- Howard Kissel, The Huffington Post

“Fellow countertenor Anthony Roth Costanzo is even better as Ferdinand, the late arrival to whom Miranda is intended. Indeed, on this Island there is truly an abundance of vocal enchantment.”
- David Finkle, Theatermania

“The audience must wait until the second act for the brilliant countertenor Anthony Roth Costanzo to appear as Prince Ferdinand; he was worth waiting for.”
- Meche Kroop, The Opera Insider

As Unulfo in Rodelinda at The Metropolitan Opera

" Anthony Roth Costanzo, Davies' equally outstanding scheduled replacement, provided another exciting Met debut, essaying his own decorations and singing with daring, point and lovely silken tone."
- David Shengold, Opera

“Imaginatively staged by Stephpen Wadsworth and beautifully conducted by Harry Bicket, the opera starred Renee Fleming, Andreas Scholl, Joseph Kaiser and Stephanie Blythe. The audience favorite that evening though seemed to be young American countertenor Anthony Roth Costanzo, making his Met debut. I first heard him a few years ago when he was just getting started and was in the young artist program at Glimmerglass. It is such a pleasure to see how far he has come in such a short time”.
- Jonathan Pell, The Dallas Opera Blog

As Artemis in Phaedra at Opera Company of Philadelphia

“Anthony Roth Costanzo, the leading American countertenor of his generation, assumes the role of Artemis with clarity, precision and occasionally seductive charm.”
- Andrew Moravcsik, Opera Today

“Anthony Roth Costanzo displayed a voice of formidable power and allure.”
- Mike Silverman, The Associated Press

“Artemis, goddess of the hunt, portrayed with penetrating tone and a loopy flamboyance by Mr. Costanzo”
- Steve Smith, The New York Times

“Mr. Costanzo sang vividly and made clear his character's gender confusion”
- Heidi Waleson, The Wall Street Journal

“Countertenor Anthony Roth Costanzo presented a touchingly nuanced performance as Artemis, with as rich and full-sounding male alto singing as I can remember hearing.”
- Peter Burwasser, Broad Street Review

As Ottone in Agrippina at Boston Lyric Opera

“Costanzo is everything a countertenor should be: unforced effort, bell-clear tone, dramatic musical sense.”
- Keith powers, Boston Herald

“The aria was particularly moving on Friday, thanks to the pure-voiced and uncommonly sensitive singing of the young countertenor Anthony Roth Costanzo as Ottone.”
- Jeremy Eichler, The Boston Globe

“Anthony Roth Costanzo, an adept, nuanced actor, equally capable of joyous dancing and inducing heartbreak, deployed his fine-grained countertenor with dynamic finesse and expressive phrasing”
- David Shengold, Opera

“His high, pure, supremely sweet voice was swoon worthy. There were moments, like in the aria “Tacero,” – “I will be quiet” – where his voice seemed to vanish into the atmosphere. I have rarely heard an audience so still as he sang. He gave us reason to keep coming to opera.”
- David Bonetti, Berkshire Fine Arts

“Countertenor Anthony Roth Costanzo, articulate, elegant in phrasing, and convincing as the one selfless character in the opera (Ottone), also projects his unique voice like a javelin, with a powerful thrust rare in his vocal category.”
- Loyd Schwartz, The Pheonix

As Orfeo in Orfeo ed Euridice at Palm Beach Opera

“For this performance, the company brought in the young countertenor Anthony Roth Costanzo, whose rich, agile voice alone would have made the evening a success…The countertenor displayed apt courage and determination as he confronted the Furies guarding the underworld and impassioned despair when he fears that he’ll never see his wife alive again. Costanzo’s singing was stellar throughout, from his first mournful cries of his wife’s name to his eloquence in sweet-talking the Furies into opening the gates. A high point of the performance was his rendering of the aria Che farò senza Euridice in which he pined for his lost wife, lying on stage facing the audience and singing with wrenching emotion and gleaming tone.” - David Fleshler, South Florida Classical Review

“The fast-rising Anthony Roth Costanzo, the first countertenor PBO has presented in a mainstage performance, was singing his first Orfeo; assuredly not his last, for he coped with the music confidently and with remarkable stylistic command, an ardent yet vulnerable figure. He used a wide dynamic palette and executed trills with flair…together [Nadine Sierra and Costanzo] made something urgent and pointed of every line of recit before their Act 3 duet.”
- David Shengold, Opera

“The principal cast of three young singers was top notch. As Orfeo, Anthony Roth Costanzo was ideal. The countertenor possesses a large, perfectly placed voice that he uses with an impressive musicality. His large beautifully rich open tone has remarkable clarity. The countertenor brought a thrilling and striking dimension to the role of the grieving musician in search of his lost love. Costanzo’s dramatic delivery of the aria Che faro senza Euridice was simply faultless and truly moving.”
- R. Spencer Butler, Palm Beach Daily News

As the Alto Soloist in Pergolesi’s Stabat Mater with Symphony in C
Countertenor Anthony Roth Costanzo, who has soared at NYCO and the Philharmonic, excelled in his first encounter with a work that should become a staple for him. His ability to shape and color long musical phrases with both feeling and technical aplomb is remarkable.
- David Shengold, Gay City News

Costanzo's larger-than-usual baroque voice suggests a future in the mezzo-soprano sections of Mahler's Das Lied von der Erde. In fact, he's cast in the Opera Company of Philadelphia's production of Henze's Phaedre this season - in keeping with his intriguingly varied career, which includes a touring production of Broadway's Falsettos and the Merchant-Ivory movie A Soldier's Daughter Never Cries. Costanzo's vocal richness both blends with and envelops other voices, the way a good concert organ gives a subtle added heft to a larger orchestral texture.
- David Patrick Stearns, Philadelphia Inquirer

As Tolomeo in Tolomeo at Glimmerglass Opera
“It also boasted three category-killing performances. Anthony Roth Costanzo, whom savvy Glimmerglass audiences have been tracking since his first few memorable lines in 2008's Giulio Cesare, was given a chance to shine in the title role. Costanzo possesses a distinctive countertenor of strength, clarity, facility and beauty, but he is also a marvelous actor. His characterization was so full of self-deprecating charm that the audience never stopped rooting for him.”
- Joanne Sydney Lessner, Opera News

“Tolomeo, excitingly sung and vigorously acted by the incisive countertenor Anthony Roth Costanzo”
- Steve Smith, The New York Times

“ ‘Tolomeo’, the company’s eighth Handel work, boasts a terrific young countertenor, Anthony Roth Costanzo, in the title role.”
- Heidi Waleson, The Wall Street Jouranl

“It is so gratifying to see how countertenor Anthony Roth Costanzo has developed in only the two years since his Nireno in Julius Caesar here. Already then an artist of great promise, Mr. Costanzo has matured into an assured star on the verge of a major international career. He is possessed of an exceptionally clear, incisive timbre and his sure-fire, take-no-prisoners way with even the trickiest coloratura was thrilling. He does not shy away from some aggressively butch singing in the lower register, but it is in the upper reaches that he truly shines. His nuanced, deeply felt reading of his death aria held us spell bound. Although slight of stature, he nevertheless commands the stage with his committed physicality.”
- James Shore, Opera Today

“Happily, the singing was as fine as one can find on any stage in the world. Countertenor Anthony Roth Costanzo’s Tolomeo, slight of figure, was potent nonetheless: the voice is penetrating, agile and colorful, and can also be scaled back to an intimate whisper. The scene before he thinks he’s dying…was deeply felt and handsomely acted…A stunning performance.”
- Robert Levine, Classics Today

“Anthony Roth Costanzo and Joélle Harvey — last year’s stellar Sorceress and Belinda in Dido and Aeneas — returned in triumph to the strikingly demanding Senesino and Cuzzoni roles. Both acted and sang up a storm. Roth Costanzo’s keen musico-dramatic intelligence and gift for sustained line made “Stille amare” the season’s high point.”
- David Shengold, The Boston Musical Intelligencer

As Prince Go-Go in Le Grand Macabre at The New York Philharmonic
“The young countertenor Anthony Roth Costanzo brought a clear, penetrating voice and dramatic flair to the role of the gluttonous, cowardly Prince Go-Go”
- Anthony Tomassini, The New York Times

“A standout was Anthony Roth Costanzo as Prince Go-Go, a waifish but strikingly male-sounding countertenor with a wide enough range of color and emotion to bring the character of a puppet prince, costumed in a spherical outfit like a white soccer ball, to more vivid life than some of the more strongly delineated characters.”
- Anne Midgette, The Washington Post - The Classical Beat

“Among the energetic cast, the standout was Anthony Roth Costanzo as the bumbling Prince Go-Go, balancing a vibrant countertenor with quirky comic timing.”
- James Jordon, The New York Post

“Everyone here was utterly in command…and two singers went into an inspired realm of lunacy. Barbara Hannigan…and countertenor Anthony Roth Costanzo, sweet-toned yet surprisingly powerful of voice, mimed a Clintonesque feel-your-pain speech in extreme camera close-up, then ate one of his constituents (played by a tiny paper doll).”
- William Braun, Opera News

As Armindo in Partenope at New York City Opera
“Anthony Roth Costanzo, a sweet-voiced countertenor, sang splendidly as Prince Armindo”
- Vivien Schweitzer, The New York Times

“This staging hosted stellar countertenors…With a more incisive personal timbre, Roth Costanzo, a charmer onstage, won the day, providing real trills, gorgeous diminuendi, and brilliant ornamentation.”
-David Shengold, Gay City News

“Mr. Costanzo, a Grand Finals winner of the 2009 Met National Council Auditions, who is scheduled to sing the title role of Handel's "Tolomeo" at Glimmerglass this summer, sang Armindo with an appealing boyishness and rock-solid technique, particularly in ornamentation.”
- Heidi Waleson, The Wall Street Journal

Costanzo… excelled at what he did, not least in the jaunty Act 3 aria “Nobil core che ben ama,” to which he brought a deft touch.
- George Loomis, Musical America

The Messiah at Carnegie Hall with Musica Sacra
"And Anthony Roth Costanzo, a young countertenor who sang the alto arias, had a great night and won a big ovation. His sweet voice carried well. He sang the words clearly and was unfazed by ornate passagework. He is an artist of promise."
- Anthony Tomassini, The New York Times

As Polinesso in Ariodante at Juilliard Opera
"Among the fresh voices heard, the most finished were those of ... [and] Anthony Roth Costanzo, an intense, engaging countertenor, who played the treacherous Polinesso"
- Steven Smith, The New York Times

As the Sorceress in Dido and Aeneas at Glimmerglass Opera
“Anthony Roth Costanzo is a star in the making. His snarling, cockney Sorceress was delicious but never obscured the power of his stunning, secure countertenor.”
- Joanne Sydney Lessner, Opera News

“The standout, though, goes to countertenor Anthony Roth Costanzo (Sorceress) – his outpouring of high notes is nothing short of miraculous.”
- Paul Citron, The Globe and Mail

"Clarion countertenor Anthony Roth Costanzo (promised in next season's much-awaited Tolomeo) made a world-class Sorceress."
- David Shengold, Opera

The 2009 Metropolitan Opera National Council Auditions

“Of the four winners, I liked best Anthony Roth Costanzo, twenty-six, an extremely musical countertenor who has been sweeping many of the big competitions for the past year or so.”
- Brian Kellow, Opera News

As Oberon in A Midsummer Night’s Dream at the Seattle Opera Young Artists Program

“Oberon was Anthony Roth Costanzo, a young countertenor of rare musicality. His voice commands all the requisite colors throughout the range, and he projected it with tellingly nuanced dynamics and insinuating dramatic insight.”
- Bernard Jacobson, The Seattle Times

As Nireno in Giulio Cesare in Egitto at Glimmerglass Opera

Selected by Opera Now magazine as part of “Who’s Hot”

“Two knockout performances at this summer’s Glimmerglass Festival were by singers who are members of the Glimmerglass Young American Artists Program…Countertenor Anthony Roth Costanzo, a semi-finalist in the 2008 Metropolitan Opera National Council Auditions, sang Nireno in Giulio Cesare (and covered Ptolomeo). His voice – more soprano than countertenor – is laser-beam focused and bright, but capable of great inflection. Next season he will sing Oberon with the Seattle Young Artists Program. A unique sound. “
- Robert Levine, Opera Now

“Glimmerglass Opera Young American Artist Anthony Roth Costanzo displayed a strong, well-focused countertenor as Nireno, even without his aria.”
- Joanne Sydney Lessner, Opera News
 
“Anthony Roth Costanzo, a promising young countertenor, stood out as Nireno, and one regretted that his arias were cut…”
- Heidi Waleson, The Wall Street Journal

In the title role of Griffelkin at the Manhattan School of Music (Main Stage)

“Vocally, the only substantive role is Griffelkin, sung with a perfectly childlike mixture of mischievousness and wonder by Anthony Roth Costanzo, a countertenor with a pure timbre and plenty of power.”
- Allan Kozinn, The New York Times

“The title role, which calls for dancing and acrobatics as well as strenuous singing, had more than a match in Anthony Roth Costanzo, a countertenor of assurance, spirit, and expressive dynamic range.”
- John W. Freeman, Opera News

“What was most amazing about this production was the stunning vocal virtuosity of Anthony Roth Costanzo as Griffelkin. He looks very much like a boy, but he has the countertenor power of a very mature performer.”
- New York Theater Wire

In the 2008 George London Competition Finals

“Speaking of purity, countertenor Anthony Roth Costanzo not only had the most distinctive voice this day, but knew how to husband it intelligently. His ‘Stille Amare’ from Handel's ‘Tolomeo’ was electric, icy cold in spots, fiery red in others. For this critic to choose a countertenor, it had to be a very special performance.”
- Fred Kirschnit, The New York Sun

“$1,000 encouragement grants were awarded to sweet-toned countertenor Anthony Roth Costanzo who created a beautiful, still moment with Tolomeo’s ‘Stille Amare’”
- Brian Kellow, Opera News

As Francis in the Merchant Ivory film A Soldier’s Daughter Never Cries

“Ivory saw himself reflected in Francis, hands-down the funniest, most iconoclastic character in the story…”
- Richard Covington, The Los Angeles Times

“…beautifully played by Anthony Roth Costanzo…”
- Kenneth Turan, The Los Angeles Times

“Anthony Roth Costanzo in a dynamic supporting role--he steals a lot of scenes...”
- Siskel & Ebert (Show #1303)

“Though Francis, played exuberantly by the newcomer Anthony Roth Costanzo (who does his own operatic singing), is seen only in this middle section and not heard from again, his character is treated with particular fondness and fascination.”
- Janet Maslin, The New York Times

“The greatest surprise, and the most exotic apparition, isn't part of the Willis family at all. He's Francis Fortescue (Anthony Roth Costanzo), a self-dramatizing English schoolmate of Channe Willis … the boy sounds like a lonesome angel when he sings arias from Mozart or Verdi in his soaring countertenor.”
- Joe Morgenstern, The Wall Street Journal

“But it's Costanzo as Channe's effeminate, theatrical friend Francis who has the film's most startling moment (it goes beyond anything else in Ivory's oeuvre). Accompanied on the piano by his doting mother (Jane Birkin), Francis gets up in front of his high school class and sings Cherubino's aria, "Voi che sapate," from The Marriage of Figaro in a clear, infinitely expressive voice. (Costanzo, a trained countertenor, does his own singing on camera.) The aria, in which the 14-year-old Cherubino confesses his impossible love for a woman who's out of his class, is almost always sung by a woman. It's a revelation to see it performed by Costanzo, who lets his confused adolescent male sexual passion rip through Mozart's perfectly balanced melody without any violation of musical taste or style.”
- Amy Taubin, The Village Voice

As Miles in The Turn of the Screw at the New Jersey Opera Festival
“And as Miles, the gifted boy soprano Anthony Roth Costanzo triumphed. His Miles was an impish, likable kid caught up by forces he did not understand. You ached for him. But when he involuntarily adopted the swagger and leering gestures of his tormentor Quint, you feared him.”
- Anthony Tommasini, The New York Times