“Rinaldo, with countertenor Roth Costanzo in the title role, generated most of the pre- and in-season buzz. Always a compelling and deeply intelligent performer, his performance was beautifully sung and deeply committed.”

“Anthony Roth Costanzo brought his customary musical intelligence and consistently mesmerizing stage presence to the title role. He utterly convinced as a loose-limbed little boy longing to escape the confines of his hospital room, then seamlessly changed his bearing to suggest Rinaldo’s stature as a great warrior. He shaped endlessly flowing vocal lines with finesse and characterful choices, as when he used the melismatic runs of ​“Venti, turbini” to suggest a windswept ship at sea.”

“Roth Costanzo does appear to be one with Akhnaten. He seems to be one with Glass’s requirements, too, including the slowed-down bodily movements one sees. He sings with perfect, blanched tone, and delivers incredible vocal strength at times. Dramatically, he projects the almost alien strangeness of the character of Akhnaten to perfection. It is unsettling, and so it should be.”

“The vocal writing demands considerable range and dexterity. In the title role Anthony Roth Costanzo deployed his full arsenal (precise attack, melisma, verbal nuance, telling descents into baritone turf) plus surprising vocal heft in creating a scarily implacable amoral force.”

“The fine American countertenor Anthony Roth Costanzo delivered ardent or anguished arias – one of Philip Glass’ specially written for this Prom”

“Anthony Roth Costanzo was outstanding as Armindo, singing with gusto and offering a display of physical agility throughout the performance, crowned with a brilliant rendition of his Act III aria.”

“In the role of the foolish lover Armindo, Anthony Roth Costanzo attracts the favours of the Madrid public and reaps the rewards of a staging which offers him the opportunity to indulge in a thousand antics…his countertenor timbre is full-bodied and ideally suited to the Handelian style, the rigour of which he has already mastered.”

“Dionysus was written for the specific and spectacular gifts of Anthony Roth Costanzo, making his Santa Fe Opera debut. Mr Costanzo does not disappoint, deploying his warm countertenor with assurance and purpose…Anthony’s appealing instrument almost works against the nefarious intent of the character, but he is such an accomplished stage creature that he compensates with barely controlled menace.”

“Superstar Anthony Roth Costanzo, with his flamboyant stage presence, captures the mysterious and supernatural nature of the demigod, capable of charming and later destroying. This type of androgynous voice could not be better suited for the role.”

“Of course it helps when the countertenor is Anthony Roth Costanzo. [His voice] filled the huge Met theatre admirably and eerily.”

“Anthony Roth Costanzo was a perfect choice, as he is a distinctive artist with a flair for self-presentation and a firm, light voice, which projects power without ever letting the audience forget the underlying vulnerability of his own naked body beneath the robes.”

“Costanzo has a remarkable control over dynamics, more-so than most countertenors, and this makes him a more dramatic singer than others. Listening to the soft, sweet ​“Lascia ch’io pianga”, the words sewn together with an impeccable legato, one is touched by sadness…The vengeance aria ​“Vivi, tiranno” from Rodelinda is delivered with passion and rage. Cascades of perfectly placed notes, flawless diction, trills and endless breath turn this into the showpiece it ought to be.”

“Very few singers can bring such high-calibre acting to a concert appearance as does the American countertenor…Costanzo conveyed overwhelming despair and longing in Tolomeo’s gut-wrenching poison aria, ​“Stille amare.” In ​“Vivi, tiranno” from Handel’s Rodelinda, Costanzo’s runs built on one another to tell a story that mirrored the exasperated drama of the text”

“… as dignified and vulnerable in his robes of state as he is in his nakedness. His protracted death scene is weirdly moving.”

“Costanzo convinces us that the aria couldn’t be sung any other way…The album is engaging from first note to last.”

“Anthony Roth Costanzo’s sexless, disembodied countertenor is exactly right for the Voice of Apollo”

“Anthony Roth Costanzo – his countertenor ample, generous and characterful – brings real vocal brilliance to the roll of Roane, the stage manager.”

“Anthony Roth Costanzo’s portrayal of Nero, the tyrannical emperor of Rome, was searing.”

“In a star turn, countertenor Anthony Roth Costanzo dominated the stage, giving a memorable vocal and dramatic performance as Orfeo…his voice is large and voluptuous. Costanzo’s trills and ornaments were assayed with spot-on accuracy in a voice that is superbly controlled”

“Anthony Roth Costanzo cut the air with his first, unnerving note. He gave his sound cottony softness for intimate moments, but brought back its thrilling steel for dramatic crises.”

“Leading the countertenor charge was the handsome, charismatic Anthony Roth Costanzo, who dug fearlessly into Caesar’s wide dramatic and musical range. His pointed, clear-toned voice was haunting in his Act 3 lament, then thrilling as he dispatched slithery melismas with abandon in ​‘Quel torrent, che cade dal monte’

“Costanzo’s voice is still very much in its prime, but since the time when he first dazzled audiences, at The Met in 2011, it has acquired a touch of grit in its lower reaches, and a bit of a wild edge on top.”

“Anthony Roth Costanzo gives Prince Go-Go luminous pathos”

“Costanzo captures perfectly the other-worldliness and sexual ambivalence of Akhnaten.”

“Dulcet-voiced countertenor Anthony Roth Costanzo sang Roane with bell-like tones”

“Anthony Roth Costanzo was touchingly vulnerably”

“As Akhnaten, Costanzo seemed perfect for the role, his voice not only blessed with the requisite strength, but also of a decidedly otherworldly quality.”