2011 Reviews

"Antonio Nagore as January 30th's Calaf was excellent...He sang in full voice from the opening bars of the first act...There was no "saving" for the "Nessun Dorma" which does not appear until early in Act III in this version."

Dr. Donald J. Behnke: Green Valley News
Review on the web
February 5, 2011

2009 Reviews

"Nagore, who has a battleship of a beautiful voice, was thrilling. He milked the classic "O Sole Mio" for all it was worth."

Donald Munro: Fresno
February 2, 2009

2008 Reviews

NIOTelAvivTurandot2008_06.jpg"His (Antonio Nagore as Radames) timbre was individual and pleasing with ringing highs and more than enough power to soar over the orchestra. . .His gestures and and vocal coloration helped portray the conflicts between his private love and his duty to his state."

William Thomas Walker: Classical Voice of North Carolina
January 31, 2008

“Antonio Nagore (Calaf) performs in a way that after a little less than three hours you want to listen to him all over again.”

Calcalist: Amir Schwarz
March 11, 2008

"As Calaf Antonio Nagore delivered a great performance."

Globes: Omer Shomroni
March 8, 2008

"Radames was sung by tenor Antonio Nagore, who reminded me of Jon Vickers in stature, rich timbre and near-Helden fortissimo qualities. Nagore is fearless - going to the brink to create great vocal excitement and brilliant high notes."

Baltimore Sun: Mary Johnson
April 30, 2008

2007 Reviews

MontpellierNorma07a.jpg"Antonio Nagore is a master and sings Hoffmann with vocal assuredness, and with the correct expression for every situation, which began in an intoxicating way and blossoms in the intoxication of falling in love."
February 18, 2007

"Antonio Nagore sings Hoffmann. . .He has a huge sound, but because of his expressiveness and his fearlessness through the roles difficulties, he is more than persuasive."
February 19, 2007

"So Antonio Nagore did what he knew: he showed the harshness of a centurion's brutality. He later showed a warm timbre and even a stamp of elegance he imposed upon the score's acrobatics."

Midi Libre: J.V.
June 10, 2007

2006 Reviews

"The magnificent tenor Antonio Nagore was the villain Dick Johnson, aka bandit Ramerez. I know a bandit shouldn't be a glorious tenor, but he falls in love with her (Minnie), and straightens out in the end, which is why he gets to be a tenor."

Montecito Journal: Erin Graffy
May 4, 2006

2005 Reviews

FresnoGrandOperaTurandot2004a.jpgAntonio Nagore as Calaf: Fresno Grand Opera "Playing Pollione was American tenor Antonio Nagore, macho, yet with a beautiful soft-edged voice."

The Sunday Times Argus: Jim Lowe
September 18, 2005

"He (Antonio Nagore) is clearly a talented actor with a solid and broad vocal range."

The Globe and Mail: Alan Conter
September 20, 2005

". . .Nagore (Calaf) countered with strength and depth of voice, coupled with the posturing of confidence and authority. Nagore's tenor, as we've heard in Fresno in past seasons, is not of the thin, high type. His voice has the depth of a baritone and the range of a tenor. The quality of his singing ulitmately enabled the audience to suspend its disbelief over the mismatched text and blocking. Throughout the opera, Nagore sang with great consistency, so by the time he reached the "Nessun Dorma" aria in the third act, it did not raise the value of his stock. He sang the aria with all of the passion he could muster, but he'd been doing that all night."

Fresno Bee: George Warren
May 7, 2005

"Tenor Antonio Nagore is a warm, evenly produced voice with a real center to it and a lovely sense of shading." Henry Fogel
March/April 2005 Edition

“The tenor Antonio Nagore has a rich and large voice, and a good scenic presence.”

Michèle Fizaine: Midi Libre
March 5, 2005

"He (Antonio Nagore) offered an honest presentation of Cavaradossi."

Alain Breton: L'Herault du Jour
March 12, 2005

"Antonio Nagore (Pollione) has a huge voice and, in the first scene, he commanded attention with his less than subtle singing. Commanding, even awe inspiring, he tackled the music with a brashness bordering on recklessness. The militaristic overtones were effortlessly encompassed. . .Later, Nagore's singing was intelligently controlled. In the ensembles he was aware of the need for balance and delicacy and his character's emotional development was immaculately shaped."

Opera-Opera Magazine: Alan True
January 2005

2004 Reviews

FloridaGrandTurandot2004a.jpgAntonio Nagore as Calaf w/Anna Shafajinskaia in Turandot: Florida Grand Opera "The moment more true, vocally and dramatically, was the Andrea Chénier duet meeting the very real Antonio Nagore and Susan Patterson. "

Claude Gingras: La Presse
December 6, 2004

"As Calaf, Turandot's maniacally determined Tartar suitor, tenor Antonio Nagore is suitably brawny (there is nothing worse than a wimpy barbarian king) both vocally and as a commanding stage presence. Singing with power and conviction, he leans satisfyingly into "Nessun Dorma," perhaps opera's greatest male aria."

Tony Guzman: Sun Post
April 22, 2004

"Singing Calaf, tenor Antonio Nagore, sang and acted the incognito Prince well. There was not a mad rush for the doors once he completed the singing of "Nessun Dorma"; instead the audience preferred to stay and hear more of him. He projects his voice nicely and has a warm manly tenor sound and a big physique to match. Deservedly, he got the most applause at curtain time. It was a discerning audience."

Rex Alan Hearn: Coral Gable Gazette
April 22 - 28, 2004

2003 Reviews

SEATTLEOPERANORMA70.jpgAntonio Nagore as Pollione: Seattle Opera "Andrea Gruber's powerfull Santuzza made Cavalleria Rusticana exciting, and Antonio Nagore's Turiddu wasn't too far behind."

Harvey Steiman: Classical Music Web
Review on the web
October 2003

"Antonio Nagore was appealingly nasty as Santuzza's fickle lover, Turiddu, but no one else in the cast added much to the storm."

Patricia Beach Smith: Sacramento Bee
September 23, 2003

"Antonio Nagore was an effective Turiddu. . .He has a wide vibrato, like Gruber,. . .but he matched her intensity, if not her musical nuances."

Michael Zwiebach: San Francisco Classical Voice
September 23, 2003

"Antonio Nagore, who debuted as Calaf last season in Pucinni's Turandot,. . .singing brusquely but with enough vocal juice to make the performance tell."

Joshua Kosman: San Francisco Chronicle
September 22, 2003

"Nagore, as Don José, produced a gradual undoing of his character that flowed from beginning to end. He portrayed his conflict between duty and passion so convincingly that one lost sight of the musician. Nagore's tenor is of the rich ilk, not piercing, but full-bodied and commanding. . .Nagore carried the whole production in his arms."

George Warren: The Fresno Bee
May 4, 2003

"Tucson native, Antonio Nagore, who had just sung a fine Pollione in Seattle, was a warm voiced, believable Cavaradossi whose high notes rang out easily to the top of the balcony."

Maria Nockin: Opera Japonica/International News/Letter from America
Entire Review on the Web
April 30, 2003

"In the decade since he last graced the AOC stage, Nagore's voice has grown in strength and agility to a large, masterful instrument. But he proved himself a sensuous singer as well, infusing his love scenes with Litherland with both tenderness and all consuming love."

Daniel Buckley: Tucson Citizen
March 29, 2003

"as Pollione. . . Antonio Nagore, a strong spinto with an Italianate sound. Nagore's consistent, solid vocalism did the (difficult) job quite well. . ."

David Shengold: Classics
March 4, 2003

"Saturday's Pollione, Antonio Nagore, offered a virile warmth that rang to the furthest corners of the house."

Gavin Borchert: Seattle Weekly
February 26 - March 4, 2003

"Nagore brought a heroic quality to Pollione."

Mike Murray: The Herald
February 26, 2003

"Antonio Nagore's fine tenor adds depth to Pollione."

Lesley Holdcroft: Queen Anne/Magnolia News
February 26, 2003

2002 Reviews

Butterfly01a.JPGAntonio Nagore as Pinkerton wi/Xiu Wei Sun: Den Norske Opera "Antonio Nagore's Cavaradossi was both lover and politician. Not fooled by the "simulated" execution, he registered a note of pending tragedy in his face and voice. His warm, large tenor voice caressed the lyric phrases, swelling to shine, stentorian heft when needed."

Alan Montgomery: Opera News in Review
Entire Review on the Web
March 2003 (October 2002 Performances)

"No one is treated with greater violence in "Tosca" than Cavaradossi, whom Antonio Nagore played as the consummate misunderstood artist. The tenor possesses an attractive voice that he uses with ardent elegance.....But his attention to the text and his lyrical finesse were assets in a part that can be played simply for tenorial affect."

Donald Rosenberg: The Plain Dealer
October 20, 2002

"The young American tenor Antonio Nagore was notable as Pinkerton, enough of an actor to give the caddish character a heart, enough of a singer to combine a robust, full delivery with a gently poetic shaping."

Willa J. Conrad: The Star Ledger
February 25, 2002

"Nagore was in his first engagement with SO (Seattle Opera), and he displayed a rich and ringing tenor. He was a true cad, with just the right amount of vocal and physical swagger. His guilt and despair in the last act were also utterfly convincing."

Gavin Borchert: Seattle Weekly
January 17 - 23, 2002

"Antonio Nagore, in his local debut Saturday night, was a strong-voiced Pinkerton, but one who could turn a good-looking phrase as well. . .He has the voice for the role."

R.M. Campbell: P-I
January 14, 2002

"Antonio Nagore, as B.F. Pinkerton, made his Seattle opera debut in this production. Possessed of a magnificent voice with a brilliant top and confident presence, Nagore has sung this role most recently in Norway."

Frederick Frahm: The Bellingham Herald
January 15, 2002

"As her love interest Pinkerton, Antonio Nagore offered an open, glowing tenor, one throaty and rich in texture. He seemed appropriately off the page, the callous American burning through Japanese culture, a man barely noticing the action around him."

Lesley Holdcroft: Eastside Journal and South Country Journal
January 15, 2002

"American tenor, Antonio Nagore sang a beautiful, fullbodied Pinkerton in his Seattle Opera debut. His Pinkerton was not so much a villian as a man who made a huge blunder, with tragic results."

Mike Murray: The Herald
January 16, 2002

"Tenor, Antonio Nagore is boastful in the role of Lieutenant Pinkerton. . .the robust looking Nagore works well as a voracious seaman looking to devour the delicate butterfly."

Caroline Lippert-Burrows: Lake Forest Park Enterprise
January 17, 2002

2001 Reviews

Tosca00.jpg"Antonio Nagore's Don José was right on the money 9.9 times out of 10. Nagore's broad range of emotions was the one area where anyone outdid Stilwell. Don José is portrayed less innocently than in some productions, slightly damaging the audience's sympathy for him, but Nagore still created a multidimensional character with whom the audience could empathize. Antonio Nagore as Cavaradossi: Malmö Musikteater Creating a José that was deliberately naive in the beginning, blindly jealous in the middle and murderously desperate in the end, Nagore let the audience experience the ride with him. Nagore owned the final act, playing the role of a desperate man mad in love so convincingly that the quivering hands and detached lack of humanity seemed frighteningly real."

Brent Olson:
October 2001

"Antonio Nagore sang Don José with a free, ample tenor voice. Nagore was right on pitch dramatically as well as vocally as he portrayed José's total disintegration. More important, his singing gave the opera much of its dramatic impetus. At the conclusion, when the once-proud soldier is a disheveled bum, Nagore made his desperation clear without going over the top."

Catherine Reese Newton: The Salt Lake Tribune
October 22, 2001

"As Don José, tenor Antonio Nagore is outstanding. He is perfect as the free-spirited Carmen's antithesis. They interact well with each other, and they also derive much of their strength from each other. . . Nagore, too, is a remarkable vocalist. He is magnificent in his role as the naive and innocent soldier. His strong and vibrant tenor is a delight to hear, and his Act I duet with Micaela is quite tender, as is his poignant 'Flower Song' in Act II. And when he sings together with Stilwell (Carmen), Nagore is absolutely tremendous, as in the final duet between Don José and Carmen in Act IV. This scene is powerful and gripping and frightening in the intensity of emotions expressed by the two singers, a potent climax to an unforgettable evening."

Edward Reichel: Deseret News
October 22, 2001

"Antonio Nagore sung with a rich and honest tone as Faust, and his delivery was full and consistent."

Liam Moran: The McGill Daily
March 19, 2001

". . . the tenor Antonio Nagore has a beautiful voice and as the quarry is very good in the role of Faust."

M.F.: Insieme
March 14, 2001

Utah_Opera_Carmen01b.jpg"Antonio Nagore as Don José with Jean Stilwell and Nmon Ford "This who consecrate the resented malaise during the opera in this concept is the Faust of Antonio Nagore. Here, hats off! This "vocalist of the opera", which artist who knows this that he is in fact, who "lives" Faust to us, before us and in us. It dominates, with the purest of grandness, he also is almost perpetually on stage, all of this magic who is the stage craft who in fact adds that bridge: who between in the soul. Endowed of a magnificent voice, it yields all the inflexions of the role - to as many that the one be able to exhaust by opposition has Mefistofele, Faust, himself, has a psychology development of richness that we then discover always a detour unknown until thevery moment, a sensation that he yields well. One wants the review put in a large stage. Not any dithyrambe should yield justice the pleasure that he then has to live in this production to follow the wants and needs of Faust so uncanily by Nagore. If there is a Heaven, Goethe and Boito at last must be pleased of saturday evening when it now presented it to the doors of Paradise."

François Tousignant: Le Devoir
March 12, 2001

"Another plus was Antonio Nagore, a tenor from Arizona with a big, Italianate voice and a plaintive way with a phrase. . . . Nagore created the congenial tenor sound audiences crave from contemporary leading men and seldom receive."

Arthur Kaptains: Montreal Gazette
February 28, 2001

"The most praise must be reserved for tenor Antonio Nagore, who possessed the dramatic force and vocal artistrythat proved ideal for Turandot's suitor, Calaf, a central character, who is onstage for nearly the entire opera. His version of of the third-act aria; Nessun dorma, one of the most famous in all opera, was every bit as beautiful and captivating."

Kyle MacMillan: The Denver Post
February 13, 2001

"Tenor Antonio Nagore, as Calaf, came across as a first-class athletic tenor, who had the robust, big voice to make his role as important as it was. "Nessun dorma" was vibrant and memorable. . ."

Eleanor Keats: The Villager
February 12, 2001

2000 Reviews

Hoffmann95a.jpgAntonio Nagore as Hoffmann in Les contes d'Hoffmann: Sarasota Opera Association "Antonio Nagore was an impressive Calaf . . . This was the standard impulsive "unknown prince," whose infatuation with the cruel Turandot is largely inexplicable. But Nagore's singing was rich and varied, with reliable and ringing high notes and with an extra, almost baritonal, weight to his voice, more a Franco Corelli than a Jose Carreras. His Nessun Dorma, the aria Luciano Pavarotti has made the anthem of international soccer, was beautifully phrased."

Michael Anthony: Minneapolis Star Tribune
November 14, 2000

"But his commanding voice, with its warm burnished sound. . . His biggest moment, Nessun Dorma, brought memories of the young Domingo."

William Randall Beard: St. Paul Pioneer Press
November 13, 2000

"Luckily the American tenor Antonio Nagore (who sang the role at one performance in September) wasn’t otherwise occupied and managed to reach the theatre in time for the third act. He has an ideal voice for the part and stepped admirably into the breach, making it all the more obvious what had been lacking in the preceding acts."

Helen Wright: Opera
Entire Review on the Web
October 13, 2000

"Antonio Nagore, last seen here in Dreamkeepers, is an excellent Cavardossi. The best example of his effectiveness was the almost unbearable poignant performance of E lucevan le stelle, the opera's other hit tune. When Nagore finished this aria, collapsing into sobs, the audience did not applaud - not because they didn't appreciate his performance, but because it seemed almost too real, too heartfelt. No one wanted to disturb the moment by clapping. Besides, Nagore got plenty of applause for the Act One aria Recondita armonia, and for his duet with Litherland (Tosca) on Qual occhio al mondo."

James D. Watts, Jr.: Tulsa World
May 1, 2000

"Antonio Nagore sang a very exciting Cavaradossi, helped to some extent by the fact that his character was presented very traditionally and without directorial "improvements". In the first two acts there was more extroversion than poetry in his Mario, but the extroversion was definitely exciting, especially given the ring of his high notes. In E lucevan le stelle Nagore offered some nice piano singing. . ."

Christopher Weimer: Opera-L Archives
Entire Review on the Web
April 2000, week 5 (#46)

"Antonio Nagore's "Cavaradossi" became however a very positive surprise. His great tenor belongs to them that are more heroic and refined that I have heard in some time from the swedish scene. Thereto he showed his high notes to be remarkably free and unforced."

Sven Andersson: Hallands Nyheter
February 1, 2000

"Antonio Nagore has ensured himself a place among the great tenors: A lavish timbre of a supersinger with a workmanlike pragmaticism. The inlaid size comes straight, where he has use for it; as if one thus holds it to the character."

Ulrik Cold: Börsen
February 1, 2000

"Her lover Mario Cavaradossi is worth loving just for his voice. A good, solid tenor voice with a generous, balanced sound. To that must be added the Italian qualities in the sound, as well as the fact that he doesn’t say no to a couple of good old-fashioned, nowadays often rejected ‘Italian sobs’. Not at all out of place in such a convincing portrait of Cavaradossi."

Jakob Wivel: Jyllandsposten
January 30, 2000

"Antonio Nagore’s imposing physical figure superbly corresponds with his singing and acting identification, just as clear as dramatically expressive."

Martin Lagerholm: Kristianstadsbladet
January 30, 2000

". . .Antonio Nagore as the lover Cavaradossi sings both with power and expression. . ."

Henrik Halvarson: Helsingsborg Dagblad
January 30, 2000

"Cavaradossi is on the contrary a joy from first to last. American Antonio Nagore is a great tenor, wonderfully open, agile, full of warmth and pasison. He alone is worth the trip over The (Baltic) Strait."

Teresa Waskowska: Ekstra Bladet Søndag
January 30, 2000

1999 Reviews

Chenier99b.JPG"The American tenor Antonio Nagore had the right dimensions for this typical heroic role. Big strength with a beautiful and youthful timbre that fitted the role as a young poet. He also had a natural and unaffected behavior."

Tore Lund: Bergensavisen
October 27, 1999

"The tenor Antonio Nagore sang the title role of Andrea Chénier. He had displayed the qualities and dimensions and lifted them all into a higher plane by a couple of superb arias. Already by the Improvviso di Chénier in Act I he showed his qualities, and in the final Come un bel di di Maggio in Act IV he created an artistic parallel to the opening."

Idar Karevold: Aftenposten
October 25, 1999

"Antonio Nagore we have learned to know earlier. He was magnificent as the poet Andrea Chénier. He had a sympathetic behavior, free from caprice, loyal to the direction and wholeness of the performance."

Kjell Moe: Kulturspeilet
Entire Review on the Web
October 25, 1999

"This means that to stage the opera Andrea Chénier stands and falls with the tenor in the title role. Den Norske Opera has been luck with their Andrea; Antonio Nagore. He has got what it takes. His tenor is very beautiful, it has got the power that is needed, Antonio Nagore as Andrea Chénier w/Anna Shafayinskaya: Den Norkse Opera and at the same time he has got an exceptionally pleasant, human, warm and young "timbre", that is very appropriate for a role that first and foremost is a young poet. How often have we heard Andrea's main arias unpleasantly 'screamed' out by powerful tenors with no poetry in their throat. With Nagore we a tasteful, lyric singing. . .nothing could disturb his fine, cultivated vocal interpretations. Scenically he was simple, true and free from affectation."

Harald Kolstad: Dagsavisen
October 25, 1999

"To interpret the title role Den Norske Opera had got USA's most exciting tenors, Antonio Nagore. He has visited our opera house several times and this time he showed us his very best side. He is musically secure, and sings easily and effortlessly. He gives his part life in his struggle to get the woman he loves, Maddalena. . ."

Brita Skogly Kraglund: Vårt Land
October 25, 1999

"American tenor Antonio Nagore is spectacular as Manrico, with his fine, bright, bell-like tenor and sexy, passionate stage presence."

Kate Herbert: The Melbourne Times
March 31, 1999

"On opening night, American tenor Antonio Nagore. . .sang in an attractively ardent Italian style."

Neil Jillett: The Sunday Age
April 4, 1999

"Nagore looks like a young Victor Hugo and has just the right heroic note. His beautiful, fully rounded tenor is steely in anger and confrontation but sensually melting in the love scenes. His lovely declaration Ah si, ben mio of Act III was sung sensitively with pianissimo."

John Slavin: The Age
March 29, 1999

"As the tenor, Carlo, Antonio Nagore sang strongly and consistently. He has a stylish voice. . ."

Paul Griffiths: The New York Times
March 10, 1999

1998 Reviews

"Nagore’s performances throughout the evening were in a similar vein. He was most successful with the bigger, more extraverted tenor numbers, such as Vesti la giubba from Leoncavallo’s Pagliacci and Nessun Dorma from Puccini’s Turandot."

Jerome R. Sehulster: The Advocate
November 17, 1998

"Also making his company debut as Mario was the American tenor Antonio Nagore, who has husky youthful energy and a bright, ringing voice. . .with gentle lyricism, it was quite lovely."

Anthony Tommasini: The New York Times
September 12, 1998

"Nagore from his first notes knows how to be immediately passionate and enamored just the right amount: his arias Recondita armonia and E lucevan le stelle shows every bit of romantic expression, and it is his round voice that reminds one a little of Carlo Bergonzi."

Franco Borelli: Magazine (Oggi 7)
September 13, 1998

"Antonio Nagore. . .rang out clearly in his defiant Victoria! and sounded warm and heartfelt by the time he reached his big Act III aria."

Shirley Fleming: New York Post
September 12, 1998

Pagliacci98b.JPGAntonio Nagore as Canio in I Pagliacci: Opera Colorado "Nagore made a very strong impression. His voice is pleasing in tone - warm, rounded, large and unforced."

Mary Campbell: Springfield Union
September 12, 1998

"Tenor Antonio Nagore stole the show with his excellent voice and superlative character portrayal. He stunned the audience with Vesti la giubba from I Pagliacci. . .Although all the voices stirred the crowd, the evening really belonged to Nagore."

Country Journal
August 27, 1998

"Nagore, on the other hand, is a new talent for the Knoxville audience. With soaring range and force of presence he commanded."

Bob Barrett: Knoxville News-Sentinel
July 18, 1998

"As Canio,. . .tenor Antonio Nagore sang with fire and mettle and was the embodiment of jealous rage."

Jeff Bradley: The Denver Post
May 5, 1998

"Nagore,. . .carried an intensity that made his murderous outburst fully believable, while his ringing tenor was a joy to hear - highlighted by the famous Vesti la giubba."

Marc Shulgold: Rocky Mountain News
May 4, 1998

". . .Antonio Nagore, as the Anglo doctor Adam Wade. . .was consistently able to project his ringing voice over the orchestra. He was most impressive in his two arias - one in the first act. . .and in the second act - and in the River duet with Ashley Putnam."

James D. Watts Jr.: Tulsa World
March 9, 1998

1997 Reviews

"As Calaf, Antonio Nagore did an amazing performance. A powerful, beautiful voice, with a touching figure."

Martin Haug: Drammens T/B Bla
December 1, 1997

"Antonio Nagore was a powerful performer. As a stage artist and singer he was the focus in the drama. . . He showed as an strong willed, well articulated, a great figure, and he suited the role very well."

Idar Karevold: Aftenposten
December 1, 1997

Werther96a.jpgAntonio Nagore as Werther in Werther: New Israeli Opera Tel Aviv "With an amazing voice and the conventional tenor figure, Antonio Nagore managed to overcome the unsympathetic Princess."

Reidar Storaas: Bergens Tidende
December 1, 1997

"Even with a small cold, Antonio Nagore sang the title role with cultivated timbre, solid technique, great musicality, nothing showed us that he was indisposed."

Harald Kolstad: Dagsavisen Arbei
November 11, 1997

"American Antonio Nagore made a stalwart Calaf; nevertheless he used his robust tenor sensitively in negotiating high passages softly."

Horst Koegler: Opera News
October 1997

"Antonio Nagore is impressive as Calaf, not only through his seamless, yet thoroughly powerful legato, but also his shifting into a higher gear produces a virtually electrifying 'ma il mio mistero'."

Horst Koegler: Welt am Sonntag
June 1, 1997

"Antonio Nagore's tenor develops thanks to the optimal focusing of his heroic power, without losing his melting legato."

Marianne Zelger-Vogt: Neue Zürcher Zeitung
May 28, 1997

"Antonio Nagore, who sang Calaf with his beautifully timbred tenor, received enthusiastic applause and presented an impressive figure with his tall stature."

Winfried Wild: Schwäbische Zeitung
May 27, 1997

"Tenor Antonio Nagore was a fine Ernani. . .Nagore's open-throated vocalism recalled the Italian tenors of yesteryear."

Peter Wynne: Bergen County Record
April 4, 1997

"Antonio Nagore, who visited DNO for the first time, in the role of Cavaradossi. He impressed us with his great facility, with his dramatic voice he was cut out for this part. He stood out with several vocal highlights, the biggest: the third act with the famous E lucevan le stelle to the tremendous joy of everyone."

Idar Karevold: Aftenposten
January 1, 1997