Le Villi: Spoleto Festival Charleston

DC Theater Scene

"Throughout the evening, tenor Dinyar Vania managed the seemingly impossible by going for it, melodrama and all, to be chased to his death by the villi, wraith-like female sprites; His powerful and expressive singing in his final scene was most affecting."

Charleston City Paper

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"Tenor Dinyar Vania was spectacularly effective as Roberto, with a clarion top end, and more than enough vocal oomph to keep up with Rowley."

Classical Voice North America

"Tenor Dinyar Vania doesn’t have a Metropolitan Opera debut on his calendar yet, but after hearing him sing Roberto’s rueful “Torna ai felici dì” (Return to the happy days) upon his return from the city, I wouldn’t count him out for the future. There is heft and magic in the voice."

Madama Butterfly: Boston Lyric Opera

Berkshire Fine Arts

"Dinyar Vania... is a fine Italianate tenor - a treasure in the opera house these days - hitting all his high passages effortlessly, and singing with a fullness throughout his range. He played the callow lieutenant with appropriate cluelessness until the final scene when he realizes what he has done."

The Boston Music Intelligencer

"Tenor Dinyar Vania, the Pinkerton, had a lustrous sound with a ringing, Italianate top register, satisfying both in solos and in duet with Lee. As the younger officer, “rambunctious and clueless” in Groag’s apt description, —a fatuous grin seldom left his face during Act I."

Exquisite Puccini: Rochester Philharmonic Orchestra

Rochester City Newspaper

Eastman Kodak Hall

"The show-stopper of the night was tenor Dinyar Vania, singing excerpts from 'La Boheme' by Giacomo Puccini. Vania's voice is sensational. Vania filled the entire hall in a seemingly effortless manner, while communicating the depth of the emotion called for by the score. How can we not have heard of him before? He is young. He is working his way along. But do not underestimate his potential. I recommend that you get to hear him on Saturday night, as it is only a matter of time before his career carries him into plum roles and venues in the world of opera."

Madama Butterfly: Lyric Opera of Kansas City

KC Metropolis

"Dinyar Vania was extraordinary in the complicated role of Pinkerton. The facility and dependability of his high range were remarkable. In “Dovunque al mondo” and “Amore o grillo,” Vania was powerful, nimbly answering the call to move between recitative and aria. At first, Vania’s Pinkerton is perfectly flippant and cavalier, just careless enough to allow the audience to despise his recklessness. But Vania fashioned a persona that left room for interpretation, and he also communicates signs of humility and humanity. Both “Viene la sera ” and “Bimba dagli occhi” depict Pinkerton sort of acting across the boundaries of good and evil, and he sings of love, somewhat convincingly, as if he knows the extent of its powers and its dangers (especially in “Addio, fiorito asil,” as he admits to his cowardice with such raw emotion). Although the audience was sort of shell-shocked by Butterfly’s final moments, so that she was all they could think about during the curtain calls, the neglect of Vania in those moments does not reflect the impact he made on this production."

As Rodolfo with Inna Dukach

La Boheme: Jacksonville Symphony

Season Ticket

"In Che gelida manina, incredibly sung by Dinyar Vania, we were awaiting the tenor’s phrase 'la speranza!' and Dinyar’s booming voice shook the hall’s rafters and floated tenderly upon us with his delicate final phrases.  The audience responded with a roar of applause and Dinyar became an instant favorite."

Carmen: Lyric Opera of Kansas City

Present Magazine

"Tenor Dinyar Vania, in the role of Don José, also made his Lyric Opera debut.  Vania commanded his climactic lines with masterful expression and powerful volume.  The letter duet between Don José and Micaela, played by soprano Alyson Cambridge, was a lyrical highlight of the entire performance."

KC Independent

"At the end of Act 3 Vania shows a tough exterior as he threatens Escamillo and Carmen, while simultaneously injecting huge pathos into his warm-textured tenor." 

As Don José with Sandra Piques-Eddy

Faust and the Furious: Opera Roanoake

The Roanaoke Times

"But with Vania's clear, floating tenor in the high range, it's understandable why she falls like a ripe peach into his grasp."

 

As Edgardo with Rachele Gilmore

Lucia di Lammermoor: Knoxville Opera

Metropulse

"Lucia's lover Edgardo was played by Dinyar Vania, a vigorous, darkly handsome tenor with a voice to match.  Vania's Edgardo was a strong, passionate, hot-blooded lover, his voice displaying both a brilliant edge and a rich lusciousness.  In Lucia and Edgardo's Act I duet, "Ah! Verrano a te sull'aure," their voices blended beautifully."

La Traviata: Mercury Opera

The Rochester Democrat & Chronicle

"Her voice was well-matched for duets with tenor Dinyar Vania in the role of the Alfredo.  While still a young singer, Vania turned out dramatic power and a ringing tenor in last year's Tosca and similarly does so in this production"

L'elisir d'amore: Sacramento Opera

The Sacramento Bee

"Vania and Thurman gave impressive vocal performances, living up to the task of filling the large Community Center Theatre with their voices.  In the show defining last act aria, "Una furtiva lagrima," Vania sings with warmth and radiance, never overplaying the emotion yet selling the bittersweet quality of Donizetti's music and Felice Romani's libretto."

Nemorino with Katrina Thurman

Rigoletto: Knoxville Opera

Metropulse

"Returning to Knoxville Opera in the role of the Duke was tenor Dinyar Vania.  Vania, who was seen previously in KOC productions of Madama Butterfly and La Boheme, brought his usual energy and swagger to the role.  He added a touch of the Duke's arrogance and finished with a solid 'La donna è mobile.'  Equally enjoyable was his Act I 'Questa o quella," in which the Duke clearly explains his motivations toward women."

Tosca: Mercury Opera

The Rochester Democrat & Chronicle

"But it was the incredible match between her (Gardner) and Vania, who played her on-stage lover, that added to the dramatics of their fateful deaths.  Vania emerged as the strongest singer on stage.  His tenor rings clear and his vibrato wrings out emotion."

La Boheme: New York City Opera

Opera News

"Her lyric timbre paired well with that of Dinyar Vania's Rodolfo, the tenor sounding lean and pointedly focused...with a nice bloom on the top notes."

La Traviata: Opera Cleveland

Opera News

"Vania's voice is a lyric instrument with enough power to essay a thrilling 'O mio remorso' and yet enough lilt to caress 'Parigi, o cara.'  Both Vania and Corbisiero made their duets highlights of the production."

Tosca: Toldedo Opera

Opera News

"Dinyar Vania has a voice of the perfect size for Cavaradossi.  While he has all the thrilling high notes the role demands (and the lung power to sustain them), he also took great care to shade the lyric passages to dynamic perfection."

Tosca: Nevada Opera

The Las Vegas Weekly

"Dinyar Vania, a vocally stunning tenor, met the challenges of Cavaradossi."

Rodolfo with Inna Dukach

 

As Cavaradossi