REVIEWS
"The supporting trio of Ping, Pang and Pong are strongly sung and energetically performed - Simon Meadows ably covering Ping on the night attended, alongside the ever-divine Michael Petruccelli as Pang and the reliably expressive John Longmuir as Pong. Vocally and individually they impress..."
Kate Gaul, Theatre Travels, Turandot, Opera Australia, January 30, 2026
"I’m delighted to report that this was another world-class effort. Having attended performances of Turandot in several countries over a long span of time, last night’s singing was as good as you could hear anywhere. I’m pleased to report that all supporting singers, including Richard Anderson as Timur, Calaf’s father, Simon Meadows, Iain Henderson and Michael Petruccelli, the three Ps and as the Emperor, Gregory Brown, were just as brilliant."
Victor Grynberg, J-Wire, Turandot, Opera Australia, January 29, 2026
"Luke Gabbedy, John Longmuir, and Michael Petruccelli play Ping, Pong, and Pang, respectively, demonstrating vocal diversity in their portrayal of these comic but sad characters and displaying excellent ensemble singing in Act Two."
Michael Halliwell, Australian Book Review, Turandot Opera Australia, January 21, 2026
"Turandot’s advisors, titled as P1, P2 and P3, lend an amazing comedic element to the tale as they desperately try to convince Calàf to abandon his endeavour. Luke Gabbedy, John Longmuir and Michael Petruccelli portray the three roles respectively with a witty lightness that is so enjoyable to watch. Their delivery of Ho una casa nell’Honan, in which they reminisce about their quiet lives away from the city, is absolutely beautiful."
Sophie Cornett, The Scoop Turandot, Opera Australia, January 17, 2026
“Enter Luke Gabbedy, John Longmuir and Michael Petruccelli as P1, P2 and P3 (formerly Ping, Pong and Pang)… Trapped in a decrepit server room that bears all the hallmarks of legacy integration, with cutting-edge technology and obsolete hardware intertwined, they deliver one of the most touching and beautifully sung renditions of Ho una casa nell’Honan that this writer can recall.
In what is often an overlooked scene, Gabbedy, Longmuir and Petruccelli rise above their characters’ commedia dell’arte roots and deliver a sincere lament to their former, much simpler lives – Ping in Honan on a lake surrounded by bamboo; Pong in his garden near Kiu; and Pang in a forest grove outside Tsiang. It is one of the most memorable moments of the evening.”
Jansson J. Antmann, Limelight Magazine, Turandot, Opera Australia, January 16, 2026
"As the three Ps, Gabbedy, Longmuir and Petruccelli provided sarcastic comic counterpoint, sustaining Puccini’s slightly overlong scene in Act II strongly, with well-articulated vocal lines and witty deflection, as though responsible for the running of the machinery of a surveillance state."
Peter McCallum, Sydney Morning Herald, Turandot, Opera Australia, January 16, 2026
“This splendid rendition [of Haydn's Creation] under the direction of Eivind Aadland fully conveyed Haydn’s joyous musical invention, given with freshness and clarity. Moments such as the then-daring discords in the representation of chaos and the blazing C major chord at the creation of light remain thrilling and unique in music […] The TSO Chorus provided discipline and energy while the three soloists brought characterful singing, excelling both individually and as a team."
Peter Donnelly, Peter Donnelly Reviews, Haydn's Creation, Tasmanian Symphony Orchestra, November 11, 2025
"The feckless Tichon, was also confidently sung by the ever-reliable tenor Michael Petruccelli."
Peter Tregear, Quadrant, Katya Kabanova, Victorian Opera, October 28, 2025
"Much of the work’s impact came from the four main singers who gave us well-rounded personalities with all their imperfections intact. Just as much credit must be give to conductor Alexander Briger whose control of the orchestral fabric and coordination with his singers was exemplary, particularly when you consider the score’s often aphoristic nature, if punctuated by startling bursts of splendour [...] Petruccelli made a fine Tichon, able to push back with vigour but turning into a weak reed when faced with his mother’s demands and his wife’s anxious pleas."
Clive O'Connell, Opera - O'Connell the Music, Katya Kabanova, Victorian Opera, October 19, 2025
"The cast is uniformly excellent, negotiating the often angular lines of Janacek’s representation of Czech speech patterns with seeming ease. Michael Petruccelli’s beautiful, “glowing” tenor was very well suited to the character of Katya’s kind husband"
Nicholas Routley, Australia Stage, Katya Kabanova, Victorian Opera, October 18, 2025
“All you need after that are singers with exceptional voices capable of singing in the Czech language, and a production team with the vision and technical skills to recreate Janáček’s world. On both counts Victorian Opera has been astonishingly successful[…] The scenes in which Kabanicha arranged Timon’s tie (suggestive of a strangling noose) and wielded a sadomasochistic stick generated an atmosphere of warped sensuality. Tenor Michael Petruccelli’s characterisation of a frustrated weak man, trapped in an oppressive situation and stunted by his mother’s coercive power was surprisingly moving at times. Both Halloran and Petruccelli gave impressive performances, singing with well-projected, full-bodied intensity.”
Heather Leviston, Classic Melbourne, Katya Kabanova, Victorian Opera, October 17, 2025
“Tenor Michael Petruccelli brings robust vocals to Katya’s timid and distrustful husband Tichon.”
Paul Selar, Australian Arts Review, Katya Kabanova, Victorian Opera, October 16, 2025
“The soloists were a high-quality team and their solo contributions were all excellent. Special moments of note were soprano Kovalevska and mezzo Tier superb together in the Recordare, and the beautifully blended mezzo-soprano [Tier], tenor [Petruccelli] and bass [Richardson] in the Lux Aeterna.
Peter Donnelly, Limelight Magazine, Verdi Requiem, Festival of Voices, July 7, 2025
“Tenor Michael Petruccelli’s sweetness of tone delighted in “Comfort ye my people” and his recit work in Part Two was arresting…”
Stephen Marino, Classic Melbourne, The Messiah, Melbourne Symphony Orchestra, December 18, 2024
“Michael Petruccelli brought a particularly warm and hearty presence to the role of The Stranger – the man who arrives to disrupt Holland’s rather preposterous scheme.”
Madeleine Swain, Arts Hub, Eucalyptus, Opera Australia/Victorian Opera, October 22, 2024
“Depicted as a rugged bushman, Petruccelli brings an appropriately enigmatic aura to the Stranger and a stellar, solidly expressive performance in tow”
Paul Selar, Australian Arts Review, Eucalyptus, Opera Australia/Victorian Opera, October 19, 2024
“Michael Petruccelli was unassumingly charming as The Stranger, and navigated the enigmatic lyricism of his lines convincingly.”
Stephen Marino, Classic Melbourne, Eucalyptus, Opera Australia/Victorian Opera, October 19, 2024
“Frahn’s scenes with Petruccelli as the Stranger, whose lyric tenor blended well with her voice, were arresting, the potent fascination this character evokes in her contrasted with the dry and austere Mr Cave of Samuel Dundas. The second act is dominated by the scenes with Ellen and the Stranger as he tells her a series of stories which engenders their growing fascination with each other. Petruccelli has a voice capable of nuance and subtlety, but with tenorial ring and ‘bite’ when necessary.“
Michael Halliwell, Australian Book Review, Eucalyptus, Opera Australia/Victorian Opera, October 18, 2024
…Petruccelli makes the most of The Stranger’s vivacity and charm, with a ringing tenor and tremendous physical energy; he quickly establishes and the maintains a fierce hold over the opera’s action.”
The Guardian, Tim Byrne, Eucalyptus, Opera Australia/Victorian Opera, October 17, 2024
“Michael Petruccelli performs passionately as the storyteller, startlingly engaging both Ellen and the audience.”
Moya Costello, The Conversation, Eucalyptus, Opera Australia/Victorian Opera, September 6, 2024
“The soloists were outstanding… The silken timbre of Petruccelli’s Stranger wove magically with Frahn’s compelling voice.”
Dr Gemma Regan, Limelight Magazine, Eucalyptus, Opera Australia/Victorian Opera, September 4, 2024
“It is a most difficult vocal score, with notes flying in all directions, some with homespun inorganic intervals, and I marvel at the remarkable ability of the cast (particularly the main soloists) to memorize and blend it all into a theatrical framework.”
Brian Adamson, Stage Whispers, Eucalyptus, Opera Australia/Victorian Opera, 2024
"Michael Petruccelli brought a charismatic intensity to the role of The Stranger"
Backstreet Brisbane, Eucalyptus, Opera Australia/Victorian Opera, 2024
“As the Stranger, Michael Petruccelli cut an intriguing figure with his clear tenor vocals and commanding stage presence.”
Sarah Skubala, The Blurb, Eucalyptus, Opera Australia/Victorian Opera, 2024
“All of the soloists displayed formidable musicianship in tackling this technically and musically challenging score... Michael Petruccelli’s Stranger had more welcome melodic moments and opportunities to display a very fine tenor voice. He was an arresting and highly effective lead, and he and Frahn have great onstage chemistry, which augurs well for the upcoming stage presentation co-presented by Opera Australia (and Victorian Opera)… It’s a rare phenomenon to hear new and distinctly Australian-themed opera, and the skill and care taken in the preparation and presentation of this score by all parties is impressive and to be much celebrated.”
Emma Jayakumar, Limelight Magazine, Eucalyptus, Opera Australia/Victorian Opera, February 23, 2024
“The extensive solo parts were performed with agile confidence; all five singers were utterly reliable and most enjoyable to listen to… Michael Petruccelli in the role of the Roman Septimius, demonstrated vocal warmth and emotional sympathy to the plight of the doomed Christian lovers.”
Zoltan Szabo, Loud Mouth, Theodora, Opera Australia/Pinchgut Opera. February 28, 2024
“Michael Petruccelli was delightful as general Septimus, torn between wanting to support his friend Didymus and his allegiance to the Romans. He facilitated a beautiful conversation with the string section in "Though the Honours" and his shining timbre worked so well with the strings.”
Claira Prider, Theatre Thoughts, Theodora, Opera Australia/Pinchgut Opera, February 11, 2024.
“Tenor Michael Petruccelli as Didymus’s friend Septimius rounds out the soloists and his golden-toned voice is an electrifying hope for future tenor roles at Opera Australia. He and richly sonorous baritone Greco match Lowrey, Clarke, and Sherman in vocal dexterity and seemingly effortless handling of the often fiendish Baroque ornamentations that abound in Handel’s score…the soloists are a collective rare treat.”
Diana Simmonds, Stage Noise, Theodora, Opera Australia/Pinchgut Opera, February 9, 2024
“The most complex character in the ensemble is Septimius, sung by tenor Michael Petruccelli. Beautifully rounded in tone throughout his range, he ably portrays a uniformed figure conflicted by his friendship with the covertly Christian Didymus, and his loyalty to his Roman President, Valens, who demands the deaths of Theodora and Didymus. Petruccelli channels Septimius’ compassion, anguish and utter mystification at the devoutness of the Christians in Descend kind pity, with its downward sweeping melody painting the sentiments of the aria. Compassion turns to rage soon after with the threatening Dread the fruits of Christian Folly.”
Shamistha de Soysa, Limelight Magazine, Theodora, Opera Australia/Pinchgut Opera, February 8, 2024
“The newly constructed stage became the platform for exceptional performances spanning from Mozart’s ‘Le Nozze di Figaro’ to Rossini’s ‘The Barber of Seville’. Breana Stillman as the soprano for the evening’s rendition of “Song to the Moon” from Dvořák’s ‘Rusalka’ and Michael Petruccelli’s powerful tenor in Handel’s Descend Kind Pity (‘Theodora’) were among the highlights.”
The Alexandra, Eildon, Marysville Standard, Opera at Eildon Pondage, January 17, 2024
“In many respects, Galileo reflected a personal expression of Mills’ passions and his leadership of Victorian Opera as Artistic Director and Chief Conductor for over ten years. So many of the singers who had been nurtured by him during this time gave strong performances in a variety of roles: Michael Lampard, Stephen Marsh, Paul Biencourt, Daniel Szesiong, Michael Petruccelli, Simon Meadows and Joshua Morton Galea, plus the two quintets of Devils and Angels with Raphael Wong as chief Devil, who has the first and last cynical laugh, and members of a well-disciplined Chorus in splendid voice. It was like a roll call (role call?) of some of Melbourne’s most notable operatic talent.”
Heather Leviston, Classical Melbourne, Galileo, Victorian Opera, December 23, 2023
“Britten’s musical handling of the English language is without equal and tenor Michael Petruccelli proved masterful, projecting every last subtle detail with great clarity and convincing musicianship. Moreover, there was a pleasing warmth to his voice especially in the higher registers which often Britten favours.”
Rodney Smith, Adelaide Advertiser, Adelaide Symphony Orchestra, October 18, 2023
“Among other highlights, tenor Michael Petruccelli’s warm and authoritative performance led the rich sound and fused dialogue characteristic of Antiphon: Tota pulchra es, Maria [ … ] Champions of operatic singing who often perform locally – soprano Helena Dix, mezzo soprano Dimity Shepherd, baritone Christopher Hillier and tenor Michael Petruccelli – formed a superbly suited quartet. Petruccelli carried the bulk of the solo work, doing so with unswerving intensity and command.”
Paul Selar, Australian Arts Review, Bruckner Te Deum, Royal Melbourne Philharmonic, October 2, 2023
“Following the short Fugue in D minor for organ, we heard what was a mini highlight of the concert: the antiphon Tota pulchra es, Maria for organ, choir and tenor soloist. Michael Petruccelli’s fine lyrical tenor voice was most appealing, as he sang a series of statements that were repeated and developed by the choir.”
Heather Leviston, Classic Melbourne, Bruckner Te Deum, Royal Melbourne Philharmonic, October 2, 2023
“… the solo tenor part is prominent and extremely challenging in its repeated leaps to top notes near the beginning of the “Salvum fac populum tuum, Domine (Make your people safe, Lord). Petruccelli did not flinch, landing safely each time and singing with authority […] this performance of his (Bruckner’s) Te Deum honoured the work in its serious attention to detail and skill of execution.”
Heather Leviston, Classic Melbourne, Bruckner Te Deum, Royal Melbourne Philharmonic, October 2, 2023
“The second little divertissement, Love Conquers All, was a perfect vehicle for the most lyrical of Australian tenors, Michael Petruccelli. Beautifully elegant when required he also laid on the angst in this role of the lover who feared his great amorous ambitions would go unrewarded.”
Alan Holley, ClassikON, The Pleasures of Versailles, Pinchgut Opera, September 10, 2023
“Melbourne tenor Michael Petruccelli was the character Le Jeu (the Games in Les Plaisirs de Versailles) with sweet playfulness and crisp vocals”
Annabelle Drumm, Sydney Arts Guide, The Pleasures of Versailles, Pinchgut Opera, September 10, 2023
"...a late but impactful appearance... Michael Petruccelli as the theatre prompter, Monsieur Taupe."
Paul Selar, Australian Arts Review, Capriccio, Victorian Opera, August 31, 2023
“Michael Petruccelli brought vitality to the role of the usually sleepy prompter Monsieur Taupe… As it must have done in those dark times, the combination of words by Clemens Krauss and music by Richard Strauss retains the power to take us to another, kinder world. Victorian Opera can chalk up yet another significant success.”
Heather Leviston, Classic Melbourne, Capriccio, Victorian Opera, August 31, 2023
“Silvo (in Amor Vince Ogni Cosa), sung by Michael Petruccelli with a lightly glowing, richly coloured tenor sound… and the whole cast came together in ensembles of cohesive polish and impressive agility.”
Peter McCallum, Sydney Morning Herald, The Pleasures of Versailles, Pinchgut Opera, September 9, 2023.
“The singing by all leading characters is excellent […] Michael Petruccelli as Koki, the schoolboy brother, has a lovely tenor voice.”
Karyn Hodgkinson, Theatre Matters, Parrwang Lifts the Sky, Short Black Opera, July 12, 2023.
“Jess Hitchcock and Michael Petruccelli play the sister and brother admirably - every sibling in the audience recognises their dynamic instantly, and Petruccelli’s portrayal of a “know-it-all” boy works well to highlight some of the funnier lines in the show.”
Thomas Gregory, Theatre Travels, Parrwang Lifts the Sky, Short Black Opera, July 9, 2023.
“The importance of language is introduced and its intersection with reality; science nerd Koki knows the Latin names of things he has, alas, never experienced. Petruccelli might look more like a big brother, but he is convincing in his earnest boyish enthusiasm, his fresh tenor an appealing component of the trio.”
Heather Leviston, Classic Melbourne, Parrwang Lifts the Sky, Short Black Opera, July 8, 2023.
"The singers were flawless… Tenor Michael Petruccelli was commanding, as well as light and fluent, as the cartographer"
Miriam Cosic, The Monthly, Antarctica, Sydney Chamber Opera, January 16, 2023
“… The cast is the same as that on stage during the Holland Festival, and one is in awe of their focus and concentration: they are faced with particularly challenging performance conditions… All the roles in Antarctica are demanding, often stretching the voices to the limits of their range, but the vocal challenges posed are met by well-schooled operatic voices”
Michael Halliwell, Australian Book Review, Antarctica, Sydney Chamber Opera, January 10, 2023
“Performances are outstanding, musically and in movement/stance, doing more than justice to these expansive foundations of excellence that they have been given. These members of the Sydney Chamber Opera can surely sing - with clarity and a full range of emotions. Simon Lobelson as The Captain and Michael Petruccelli as The Cartographer provide a forceful presence that duck and weave convincingly through the undulations as the story unfolds”
Rebecca Varidel, The Scoop, Antarctica, Sydney Chamber Opera, January 6, 2023
“Mary Finsterer's heart-stoppingly beautiful new opera is endlessly absorbing, sonically and visually… The marvellous singers offer even more riches… An early trio gorgeously intertwines Fraser’s velvety timbre and Petruccelli’s firm, resolute tenor with O’Donoghue’s sumptuous mezzo. All are superb”
Deborah Jones, Limelight Magazine, Antarctica, Sydney Chamber Opera, January 5, 2023
Specialist Handel singers are obviously in hot demand at this time of the year, and fortunately the ASO procured a quartet that really could not have been bettered. Comprising soprano Sara Macliver, counter-tenor Russel Harcourt, tenor Michael Petruccelli (replacing Nicholas Jones, who was in the Sydney performance) and bass David Greco, they put in superlative individual performances and congealed well as a team … Petruccelli giving a very noble rendition of “Comfort Ye” and “Ev’ry Valley”
Graham Strahle, InDaily, Messiah, Adelaide Symphony Orchestra, December 19, 2022
“From the very moment Michael Petruccelli intoned the opening phrase “Comfort ye, comfort ye my people”, the capacity audience knew they would be released from the cares of the world, at least for the next two hours… Petruccelli has a warm and wonderful voice that is well suited to the technical rigours of Handel’s oratorio Messiah. Indeed, his singing throughout was a highlight of the concert”
Kym Clayton, Barefoot Review, Messiah, Adelaide Symphony Orchestra, December 16, 2022
“Pinchgut Opera have saved the best for last with a superb performance of a Baroque blockbuster to close their 2022 season… Melbourne-based tenor Michael Petruccelli put in a stellar performance as Jason, matching Carby for charisma and chemistry, their voices blending beautifully in the opening act where Medee is persuaded by her soon to be unfaithful husband that they need to win the good graces of Creuse so that her father the king will protect them and their two sons from their enemies the Thessalians.”
Steve Moffatt, The Daily Telegraph, Médée, Pinchgut Opera, December 8, 2022
“She (Carby) is well-matched by Petruccelli, whose tenor has a smooth, velvety quality and who sings Jason with richly polished control and a sense of pitch so stable you could smash one of the set’s columns against it. He wafts about the stage in a Steve Jobs-style black turtleneck, blending a hero’s confident stride with just the right amount of hapless celebrity ignorance… With such rich vocals on display, hearing Carby, Petruccelli and Tamburini on the same stage is a bit like the operatic version of a motor enthusiast walking into a garage full of purring luxury cars.”
Chantel Nguyen, Saturday Paper , Médée, Pinchgut Opera, December 8, 2022
“As arch-cad Jason, Michael Petruccelli betrays her with a finely grained, well-finished voice, blending sensuously in duets with both Carby and with Cathy-Di Zhang (his new princess, Créuse). Amid the cast’s varied vocal panorama, his tone emerged with heroic light radiance.”
Peter McCallum, Sydney Morning Herald, Médée, Pinchgut Opera, December 4, 2022
“Michael Petruccelli is exceptional in the role of the duplicitous Jason, Prince of Thessaly, adapting his handsome and mature tenor in highly sculptured and rewarding ways in partnership with a strong and purposeful stage presence.”
Paul Selar, Australian Arts Review, Médée, Pinchgut Opera, December 3, 2022
“Another epic feature is the long, demanding arias for the leading roles. Stamina is needed and the roles are not for lightweights. Pinchgut have chosen well for their cast. Jason is played by up-and-coming Australian opera star, Michael Petruccelli. The voice is light, clear and accurate with great acting skills […] He made Jason the great seducer and a pleasure to watch. It’s worth keeping your eye on Petruccelli in the future.”
Annabelle Drum, Sydney Arts Guide, Médée, Pinchgut Opera, December 2, 2022
“The soloists are a coterie of very fine voices and acting talent. Michael Petruccelli plays an excellent Jason, his early piece, Que je serais heureux is an impressive introduction to his powerful but light tenor voice and expert interpretation of the style.”
Shamistha de Soysa, Limelight, Médée, Pinchgut Opera, December 2, 2022
“The performances of Michael Petruccelli (Frank Le Mesurier), Nicholas Jones (Harry Robarts) and Joshua Rowe (Palfreyman) were strong and powerful both vocally and theatrically, adding a dimension to the story that brought passion and apprehension in equal measure to the storytelling.”
Adrian Barnes, Glam Adelaide, Voss, State Opera South Australia, May 8, 2022
“As Koki, Michael Petruccelli […] was convincing in his earnest boyish enthusiasm, his fresh tenor a very appealing component”
Heather Leviston, Classic Melbourne, Parrwang Lifts the Sky, Victorian Opera, June 23, 2021
“Hitchcock‘s melting angelic soprano and Petruccelli’s warm and resonant tenor pair convincingly as a spirited Tjatjarrang and studious Koki”
Paul Selar, Limelight Magazine, Parrwang Lifts the Sky, Victorian Opera, June 20, 2021
“She was complemented by Michael Petruccelli as Count Almaviva, Rosina’s willing love interest and Figaro’s easily led client, with a warm and tender introduction in his serenade, Ecco Ridente in Cielo”
David Cusworth, The West Australian, The Barber of Seville, West Australian Opera, April 18, 2021
“Emerging Australian tenor Michael Petruccelli as Count Almaviva sang with a pleasing Italianate style and great bel canto technique.”
Sandra Bowdler, Seesaw Magazine, The Barber of Seville, West Australian Opera, April 17, 2021
“Timothy Reynolds and Michael Petruccelli were impressive as Pompeo and Aquilio, respectively.”
James L. Paulk, Classical Voice North America, Farnace, Pinchgut Opera, February 2, 2020
“Top to bottom, the entire cast sang miracle after miracle of the human voice’s capabilities to impress the ear and jolt the emotions […] Tenor Michael Petruccelli is muscled and powerful in voice as Aquilio.”
Paul Selar, Opera Chaser, Farnace, Pinchgut Opera, December 4, 2019
“As well as singing with bright ringing style, Petruccelli shows chameleonic comic style, contrasting a fey waiter with a serious celebrant, and a drunken French cousin with a rigid Australian Colonel.”
Simon Parris: Man in Chair, Two Weddings, One Bride, Opera Australia, November 8, 2019
“Tenor Michael Petruccelli is almost a show-stealer.”
Bridget Davies, Sydney Morning Herald, Two Weddings, One Bride, Opera Australia, November 8, 2019
“The beautiful singing of the family doctor Lucio (Michael Petruccelli) inspires […] an excellent tenor.”
Kaspar Sannemann, oper-aktuell.info, Otello, Oper Frankfurt September 8, 2019
“Lucio, the family doctor, played by Michael Petruccelli, impressed in the small role, displaying a well-supported voice with an attractive timbre.”
Alan Neilson, operawire.com, Otello, Oper Frankfurt, September 29, 2019
“The noble tenor Michael Petruccelli performed Ferrando’s Un’aura amorosa from Mozart’s Cosi fan tutte fabulously, it fit his voice extremely well.”
Markus Gründig, kulturfreak.de, Opera Soiree Se vuol Ballare, Oper Frankfurt, April 19, 2019
“Michael Petruccelli, […] performs in the double roles of Basilio and Don Curzio producing pleasant memories with a light and brightly timbred tenor.”
Michael Demel, www.deropernfreund.de, The Marriage of Figaro, Oper Frankfurt April 13, 2019
“The Italian Singer Couple Florina Ilie and Michael Petruccelli joined in with their beautiful voices.”
Gerhard Hoffmann, Online Merker, Capriccio, Oper Frankfurt, October 7, 2018
"Michael Petruccelli excelled in both voice and comic style as the marriage broker Goro."
Herald Sun, Madame Butterfly, Opera Australia, July 18, 2018
"Emerging tenor Michael Petruccelli provides welcome comic relief, playing the groveling, fastidious Goro as a kind of human C-3PO. As well as providing lovely vocals, Petruccelli amuses as Goro shares his folding set of female postcards and eavesdrops in a quirky manner."
Simon Parris: Man in Chair, Madame Butterfly, Opera Australia, July 14, 2018
"Tenor, Michael Petruccelli joined both sopranos in the ”Quoniam,” singing with purity and confidence in a highly polished performance. His understanding of the dynamics and phrasing in the ensemble work of this trio was noteworthy and it is no surprise that he is establishing himself as an emerging leading Australian tenor."
Ron Jontof-Hutter, J-Wire, Mozart, Royal Melbourne Philharmonic, May 13, 2018
"Agile tenor Michael Petruccelli’s “È un folle, e un vile affetto” from Handel’s Alcina came intelligently structured with heartfelt passion and attractive shading....Petruccelli’s well-contrasted aria was a touching and assured “Una furtiva lagrima” from Donizetti’s L’elisir d’amore."
Paul Selar, Herald Sun, Herald Sun Aria Final, October 26, 2017
“Michael Petruccelli … delivered vocally assured, polished and comedically-rich performances, grounding the production and their cast-mates. Special mention must be made of Mr Petruccelli’s splendid turn of pratfalls…”
Alex Armstrong, Stage Whispers, The Princess and the Pea, Victorian Opera, March 25, 2017
“Played by Stacey Alleaume and Michael Petruccelli, Alex and Stephen’s relationship added a very human layer to an already mesmerising plotline, and delivered some of the most magic elements of the production.”
Ros Brennan, Performing Arts Hub, Sydney Opera House - The Opera (The Eighth Wonder), Opera Australia, November 7, 2016
“Local tenors… Michael Petruccelli (Stephen Goldring) … all impressed with their strong-voiced contributions.”
Murray Black, The Australian, Sydney Opera House - The Opera (The Eighth Wonder), Opera Australia, October 31, 2016
“Michael Petrucelli’s light tenor is perfect for Alex’s drippy, yet ambitious husband Stephen…”
Clive Paget, Limelight Magazine, Sydney Opera House - The Opera (The Eighth Wonder), Opera Australia, October 29, 2016
“Slipping easily into comedy and warming hearts with his pure, glowing tenor, Michael Petruccelli cuts an endearing Arlequinno/Beppe.”
Paul Selar, Herald Sun, Laughter and Tears, Victorian Opera, August 15, 2016
“Petruccelli sings with a bright clear tone in the dual roles of performer Beppe and his stage character Arlecchino. A versatile and confident performer, Petruccelli proves completely unflustered in maintaining his lovely singing while taking part in physical comedy. His handsome looks often covered with a mask, Petruccelli still conveys a charismatic stage presence.”
Simon Paris, Simon Paris: Man in Chair, Laughter and Tears, Victorian Opera, August 14, 2016
“Michael Petruccelli is captivating and amusing in an appropriately smug rendition of the short-lived and flamboyantly dressed groom, Arturo.”
Madeline Roycroft, CutCommon, Lucia di Lammermoor, Victorian Opera, April 21, 2016
“Michael Petruccelli’s brief appearance as Lucia’s one-night-stand husband Arturo showed an agreeably light tenor voice in command of its responsibilities, a light in a dark place as his costume made him appear like a refugee from Der Rosenkavalier in the middle of the setting’s Hibernian gloom. More to the point, his vocal production displayed flexibility and dynamic nuance – much appreciated…”
Clive O’Connell, O’Connell the Music, Lucia di Lammermoor, Victorian Opera, April 13, 2016
"Michael Petruccelli was a pleasing surprise as the ill-fated Lord Arturo Bucklaw, performing this brief role with a suave yet robust confidence"
Maxim Boon, Limelight Magazine, Lucia di Lammermoor, Victorian Opera, April 13, 2016
"Michael Petruccelli sings with a sweet, high tone in the brief appearance of ill-fated groom Arturo"
Simon Paris, Simon Paris: Man in Chair, Lucia di Lammermoor, Victorian Opera, April 13, 2016
“How Michael Petruccelli and Nathan Lay found the energy to sing so well in the second half of the program would assure any potential employer that these two singers have well-developed reserves of vocal stamina, apart from their considerable acting ability. Petruccelli was powerful as the physically contorted figure of the ambiguous John Wren in Jessica Wells’ depiction of Melbourne Greed.”
Heather Leviston, Classic Melbourne, Seven Deadly Sins, Victorian Opera, November 9, 2015
“All of the singers involved were students from the Master of Music in Opera Performance course from Melbourne University’s Conservatorium of Music; two of them… and impressive tenor Michael Petruccelli – also appeared in the night’s second part…"
Clive O’Connell, O’Connell the Music, Seven Deadly Sins, Victorian Opera, November 7, 2015
