Press

July 12, 2012

Les Contes d’Hoffmann | The Metropolitan Opera via Fathom Events

MELANIE O’NEILL, EXAMINER.COM

“Calleja sang the role with impressive charisma for a debut role. His bright voice could carry a pretty tune, but also gush with passion when appropriate.”

 

May 1, 2012

La Bohème | Royal Opera House

DANIEL ROSS, THE ARTS DESK

Calleja’s admirably tempered aria “Che gelida manina” is far stronger than Giannattasio’s answering “Si, mi chiamano Mimi”, and the audience lets them know with their applause. Still, we’re engaged enough and invested thanks to Calleja and his cohorts (particularly the affably boyish charm of Fabio Capitanucci’s Marcello). Read more

March 15, 2012

The Maltese Tenor (CD-Review)

SCOTT BARNES, OPERA NEWS

“Calleja sings especially well in the French-language selections: in Faust, Hoffmann and Manon he manages the tricky feat of projecting plausible-sounding French without resorting to nasality or any restriction of his beautifully open sound…. Read more

January 15, 2012

Faust | The Metropolitan Opera, January 2012

ZACHARY WOOLFE, THE NEW YORK TIMES

January 15, 2012

“But there’s one good reason to revisit this “Faust”: the tenor Joseph Calleja, who has replaced Jonas Kaufmann in the title role. Mr. Calleja has one of the loveliest voices in opera right now, pure, sunny and strong, but with a ringing vibration — even the slightest quaver — at its core that comes across as vulnerable rather than unsteady. Faust’s floating exclamation “O merveille!,” when Méphistophélès grants him his first vision of youth, was all quiet astonishment; his great aria “Salut, demeure” was beautifully controlled.” Read more

October 25, 2011

“The Maltese Tenor” Launch at Le Poisson Rouge, October 2011

VIVIEN SCHWEITZER, THE NEW YORK TIMES

“Opera recitals are usually relatively formal affairs, so it was a treat to hear Mr. Calleja, 33, a tenor from Malta, in such an intimate space. He charmed the audience with jokes and anecdotes during the one-hour event, accompanied by Steven Mercurio conducting an orchestra squashed onto the small stage.” [...]

“Mr. Calleja’s passionate interpretations here were also distinguished by his beautiful phrasing, alluring in his ardent rendition of “E lucevan le stelle” from Puccini’s “Tosca,” and “Forse, la soglia attinse” from Verdi’s “Ballo in Maschera” and “Pourquoi me réveiller” from Massenet’s “Werther.””

July 25, 2011

Prom 13: Verdi Requiem | Royal Albert Hall

TIM ASHLEY, THE GUARDIAN

25 July 2011

“Calleja’s penetrating, elegant tenor was ravishing in both Ingemisco and Hostias…”

March 10, 2011

Lucia di Lammermoor | The Metropolitan Opera, 2011

MIKE SILVERMAN, ASSOCIATED PRESS

February 25, 2011

Tenor Joseph Calleja, in his third leading role at the Met this season, sang an Edgardo of exceptional elegance. In their Act 1 love duet, his honeyed tones blended beautifully with Dessay’s leaner sound. When he burst into the wedding scene to denounce Lucia for betraying him, his singing was anguished without ever turning strident. And Calleja was at his best in the final scene, when Edgardo pours out his grief in a heartbreaking two-part aria, before stabbing himself so he can join Lucia in death. This was golden age vocalism, pure and simple. Read more

January 10, 2011

Rigoletto | The Metropolitan Opera, January 2011

ROBERT LEVINE, CLASSICS TODAY

“The “veteran” in the group is Maltese tenor Joseph Calleja as the Duke of Mantua. Still in his early 30s, he has made quite a name for himself since his impressive debut at the Met in this same role in 2006. And happy to report, Mr Calleja has gained in stature and confidence while maintaining his always appealing, easily recognizable tone, with its fast vibrato and easy top notes. His smooth legato was always in evidence, particularly in his duet with Gilda and in his second act aria, where he genuinely seems to be in love with her. And he tossed off “La donna e mobile” almost conversationally. I can’t think of another tenor who sings this role better.” Read more

December 11, 2010

La Boheme | The Metropolitan Opera, December 2010

MIKE SILVERMAN, THE ASSOCIATED PRESS

“Singing their roles for the first time here Wednesday night, Joseph Calleja as the poet Rodolfo and Krassimira Stoyanova as the tubercular seamstress Mimi managed to overcome these obstacles and give performances that were moving in their sincerity and directness. Calleja, a Maltese tenor still in his early 30s, has a voice unlike anyone else on the operatic scene today. A rapid vibrato gives his sound an alluring sweetness, and in recent years he has refined his technique so that the quality is consistent throughout his range, up to high C. On Wednesday, there was an irresistible tenderness to his utterances when he first sees how ill Mimi is. Though not the subtlest of actors, he entered into the stage business convincingly, joining gamely in his roommates’ high jinks and playing the part of a jealous lover when Mimi innocently flirts with passers-by.” Read more

December 10, 2010

Elisir d’amore | Bavarian State Opera, December 2010

KLAUS KAHLSCHMID, SÜDDEUTSCHE ZEITUNG

“After Giuseppe Filanoti and Pavol Breslik, Joseph Calleja has now stepped into the role as a dream casting, secure in singing and acting. Playing Nemorino as a kind of Chaplin-Keaton clown clone is not the thing for this tree of a man and his nobly vibrating timbre, And so in the costume and make-up and demeanor of a shy youngster we had the body of a giant. The not just marriage-hungry girls were allowed to undress him, and the sight of black, feel-good underwear instead of the usual body-hugging white variety – we could clearly hear it – still had plenty of impact on the ladies in the audience. He didn’t just sing his “Una furtiva lagrima” with infatuating beauty, but also managed the feat four meters up in the air on a lamp post.” Read more

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Joseph's Blog

July 11th, 2014

10 tips to overcome vocal fatigue

The end of my operatic season is night and pretty much invariably, year after year, its when I feel most tired and in dire need of my annual summer break. Singing the last few performances culminating with my Malta yearly summer concert can be a challenge – especially when I have to tackle a total of around 19 arias/songs!
Thankfully there is stuff that works for a tired physique and voice. Here is what works for me -

1. Move! Working out, swimming and even a long brisk walk will do wonders for your circulatory system. Don’t do this on the day of the performance but definitely in between.

2. Silence. If you are singing a lot than it is imperative that you keep mum during other hours and only talk if its absolutely necessary. Limit phone conversations too as much as possible.

3. Diet – 3 main meals a day are a must. Avoid foods high in lactose and sugar and go instead for protein, veg and loads of fresh fruit. Keeping your blood sugar relatively constant is important and regular, healthy meals will lessen the likelihood of acid reflux. Its also important not to eat late in the evening. I try to avoid eating after 6pm whenever possible.

4. Steam inhalations – Get a big pot or steam inhalator, throw in some bicarbonate of soda and sea salt and just inhale the healing/relieving vapours! This is really beneficial to basically all your upper respiratory tract and will dislodge mucus and other impurities from your throat.

5. Nasal irrigation – Not the nicest “procedure” but it does remove all kinds of “junk” from your nose. Make sure you always rinse with saline water and there are prepared sachets you can get from virtually any pharmacy.

6. Sleep – Its boring but a good 8 hour sleep is unbeatable to get the voice back in shape. Acid reflux sufferers will also find relief by tilting their head upwards by using two pillows to avoid nasty acid creeping up their throat during their slumber.

7. Stress – or the lack of it. Absolutely avoid stressful situations which may include noisy places/bars. Your throat tenses up automatically even if you don’t speak apart from the fact that you can “tire” your ears out. There have been some studies that our “ears” tire out too so the avoidance of high decibel places is a must!

8. Vibrator – Yep that one. Apparently tests have shown that massaging your throat with a vibrator is beneficial to the surrounding neck muscles. Apparently there are some therapists that employ such “devices” already…

9. Humidity – A constant dry environment can spell disaster for your voice and general well being. If you are in a cold climate and the heating is at full blast, chances are that the relative humidity is low. Invest in a humidifier and let them rip! We all have slightly different comfort levels. For me what works best is around 55 to 65% – just like a good cigar!

10. Arguments – Whether of a business or personal nature do walk away from these when you are singing. Even if talking is not involved the mere thought or presence of something negative will automatically tense your neck muscles and raise the incidence of acid reflux!

 

If everything of the above fails than you need a vacation! Choose a high humid climate with beautiful, clear seas at hand. Swimming in the ocean/sea is truly beneficial for the voice as long as one avoids the worse hours of the sun.