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| La Calisto F. Cavalli | |||
| Grand
Théâtre de Genève Orchestre de Chambre de Genève Andreas Stoehr - conductor Philipp Himmelmann - stage director |
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| "Fabio Trümpy is a fair tenor for Pan, vocally as well as theatrically suitable" | |||
| forumopera.com April 13, 2010 | |||
| From the House of the Dead Leóš Janácek | |||
| Theater
Basel Basel Symphony Orchestra Gabriel Feltz, conductor Calixto Bieito, stage director |
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| “…the young Alej: excellent tenor Fabio Trümpy” | |||
| Basler Zeitung November 9, 2009 | |||
| “Alej – a discovery: the Swiss tenor Fabio Trümpy” | |||
| BaZ November 9, 2009 | |||
| “Alej – touching: Fabio Trümpy” | |||
| Oper Aktuell November 9, 2009 | |||
| Falstaff G.
Verdi |
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| Opera
Zuid Het Brabants Orkest Ivan Anguélov, conductor Netherlands tour, spring 2009 |
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| " The Swiss tenor Fabio Trümpy was a fantastically lyrical Fenton, with perfect vocal lines and a beautiful legato, a name to remember!” | |||
| Orpheus May 17, 2009 |
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| “Especially surprising, among the other singers, the promising Swiss tenor Fabio Trümpy (Fenton)…” | |||
| De Telegraaf May 19, 2009 | |||
| “Fabio Trümpy as Fenton was the real jeune-premier of the opera, with everything he needs, looks and voice.” | |||
| Opera Nederland May 19, 2009 | |||
| “Between all the intrigues jumps, flirts and plays the love couple Fenton and Nannetta, beautifully played and sung by Fabio Trümpy and An de Ridder.” | |||
| Brabants Dagblad/Eindhovens Dagblad May 19, 2009 | |||
| “Fenton (Fabio Trümpy) sings his lyrical part very well and shows himself a tenor to remember.” | |||
| Place de l’Opéra May 22, 2009 | |||
| "Swiss tenor Fabio Trümpy is the big revelation of this production, for whom a large career can be predicted.” | |||
| Opera Nederland May 28, 2009 | |||
| Paulus F. Mendelssohn-Bartholdy | |||
| COV Excelsior Promenade Orchestra Lex van Drongelen, conductor Ede, November 7, 2008 |
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| “The tenor was extraordinary bright and will grow to be a soloist in great demand. Especially "Sei getreu bis in den Tod" with cello solo in the orchestra was extraordinarily impressive.” | |||
| Bennekoms Nieuwsblad November 9, 2008 | |||
| Les Aventures du Roi Pausole A. Honegger | |||
| Opera
Trionfo Nieuw Ensemble Ed Spanjaard, conductor Netherlands tour, fall 2008 |
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| “Fabio Trümpy and Marc Pantus excel as the king Pausole and his page.” | |||
| De Volkskrant October 11, 2008 | |||
| “Fabio Trümpy charms as page” | |||
| IJmuider Courant October 14, 2008 | |||
| “…the page Giglio: convincingly personified by Fabio Trümpy with blond curls and an agile tenor sound.” | |||
| Klassik.com December 21, 2008 | |||
| Psalm 95 F. Mendelssohn-Bartholdy | |||
| Leiderdorps
Chamber Choir Florilegium Musicum Beni Csillag, conductor Leiden, May 18, 2008 |
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| “…Fabio Trümpy sings with impressive beauty. With completely relaxed jaw his voice became heavenly sublime.” | |||
| Leidsch Dagblad May 20, 2008 | |||
| St. Matthew Passion J.S.Bach | |||
| Vocal
Ensemble Deventer Concerto d’Amsterdam Klaas Stok, conductor Deventer, March 21, 2008 |
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| “The soloists were impressive, including the self-confident stand-in tenor Fabio Trümpy, who sung his part outstandingly.” | |||
| Deventer Dagblad March 22, 2008 | |||
| The Creation J. Haydn | |||
| Kantorei
Winterthur Musikkollegium Winterthur Christoph Kobelt, conductor Winterthur, September 23, 2007 |
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| “With his bright, fresh sound Fabio Trümpy, who sung the part of Uriel, was radiant in the entire high register…” | |||
| Der Landbote September 25, 2007 | |||
| St. Matthew Passion J.S.Bach | |||
| Bachchoir
Brabant Florilegium Musikum Geert van den Dungen, conductor Etten-Leur, March 31, 2007 |
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| “As 'passion evangelist' Fabio Trümpy was exemplary: plainly understandable, limpid in sound and with the right insight.” | |||
| De Stem April 2, 2007 | |||
| St. John Passion J.S.Bach | |||
| William
Byrd Vocal Ensemble Concerto d’Amsterdam Nico van der Meel, conductor Leiden, March 18, 2006 |
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| “The tenor Fabio Trümpy sings with the greatest ease. Relaxed he lets his bright voice take off like a carrier pigeon, agilely surging on the fragile tones of the continuo.” | |||
| Leidsch Dagblad March 20, 2006 | |||
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