Les pêcheurs de perles
“Kudos to conductor Marcello Cormio for marshaling the supportive musical forces.
Bizet’s orchestration of the score leans heavily on solos from English horn, oboe, flute, and harp, all perfectly placed.”
— Gayle Williams, The Herald-Tribune
Rita, Il segreto di Susanna
“Conductor Marcello Cormio led well-paced performances of both operas, keeping the ebullient melodies of Donizetti and Wolf-Ferrari alive without overpowering the singers.”
— Edward Alley, The Observer
Così fan tutte
“Marcello Cormio was an assured hand in the pit, conducting the score with vitality while leaving the singers room to breathe in their solos.”
— L. A. Johnson, South Florida Classical Review
“The biggest detail is Mozart’s score, one of his best, which received stellar treatment in the overture and beyond by the Opera Orchestra and conductor Marcello Cormio.”
— Gayle Williams, The Herald-Tribune
Le nozze di Figaro
“Conductor Marcello Cormio showed a sure hand in the pit with well-judged tempos throughout, drawing responsive playing from the orchestra.”
— Lawrence A. Johnson, South Florida Classical Review
“The joyful vocal skills on display amid fine sets and beautiful lighting on the Opera House stage, as well as the fluid sound of the Opera Orchestra under Marcello Cormio, add up to the impressive impact made by some of Mozart’s greatest and most popular music at the service of the joyfully silly and sly Da Ponte libretto of The Marriage of Figaro.”
— Gayle Williams, The Herald-Tribune
Il barbiere di Siviglia
“Marcello Cormio made a notable conducting debut. After a rough-hewn overture, the young Italian drew vital and spirited playing, with the fizzing ensembles exciting yet with a fine balancing of solo voices, chorus and orchestra.”
— Lawrence A. Johnson, The Classical Review
“The orchestra, conducted by Marcello Cormio, provided consistent quality and that effervescent hallmark of Rossini's scores.”
— Gayle Williams, The Herald-Tribune
“Marcello Cormio, who led the splendid orchestra and vocal forces, was an assistant conductor with Sarasota Opera about four years ago. He had a lovely, light touch with the music, never overpowering the singers but always keeping the tempos brisk and stylistic. In fact, he brought out the ever-present champagne bubbles that make Rossini the sparkler of a composer he was.”
— June LeBell, The Observer