Charbel Mattar

"The bass Charbel Mattar was a new name to me, and I predict a great career for this young singer...It's true that good baritones and basses are not exactly thin on the ground, but this one is something special: his very beautiful, fine-grained bass has an exceptional range, the like of which one hears once or twice on a regular basis in live performance - one does hear singers who are comfortable within two and a half octaves - Matthias Goerne springs to mind - but Mr Mattar easily manages the two and two thirds required by 'Fra l'ombre e gl'orrori' whilst giving point to the words and elegance to the phrasing. The way in which he contrasted the tremulousness of 'farfalla confusa' (bewildered moth) with the lugubriousness of 'ne spera piacer' was quite something to hear...He was quite rightly given a rare mid-performance ovation. Handel, as was his frequent practice, re-used this wonderful aria many years later in 'Sosarme', radically transposed even though it was to be sung by Montagnana, so it's good to know that present day singers can sometimes surpass the great legends"

Melanie Eskenazi, Musicweb International on Aci, Galatea e Polifemo, by Handel

"...the excellent knight of...Charbel Mattar"

Miranda Jackson, Opera Britannia

"...excellent bass singing from Willard White as a darkly threatening Klingsor, and Charbel Mattar as the Second Grail Knight."

Mark Ronan, opera critic