OPERA
Scarpia (Tosca)
Without Scarpia, there would be no “Tosca,” and Yiannoudes is a major find. He prowls the stage like a predator exhibiting what can best be described as a reptilian charm and a sociopathic preoccupation with Tosca. Nattily attired in his black uniform, he struts and glowers, far more turned on by the conquest than the “soft consent.”
Consumed by his desire for the virtuous Tosca, he allows his obsession to become his doom. In an ironic moment near the end of Act I, as Scarpia plots his seduction and betrayal (“Va, Tosca!”), the townspeople observe Mass — a compelling juxtaposition of evil and goodness.
The sadistic Scarpia is a character we can comfortably loathe, and Yiannoudes brings a dark commanding presence to the role, although surely a mane of dark hair, or a long dark wig, would have better suited a man of such base instincts and a lust for violence.
−Press-Register (Mobile, AL), April 2, 2011
Don Filippo Olivarez (Doña Flor)
Vocalità ineccepibile, fraseggio elegante, capacità attoriali coinvolgenti ne fanno una interprete ideale. Ottimo è apparso Constantinos Yiannoudes (Olivares), baritono dalla vocalità "importante" che ha interpretato il difficile ruolo del marito geloso e perfido.
Ottimi attori sulla scena e con voce altamente drammatica sia il baritono Constantinos Yiannoudes (Olivares), che ha interpretato ineccepibilmente il personaggio del marito geloso e perfido.
Città Nostra (Mola di Bari) April 29, 2010
CONCERT
(Cyprus Youth Orchestra)
"The highlight was baritone Constantinos Yiannoudes who was simply superb. He has a natural stage presence and in Macbeth’s aria Pieta, rispetto amore was most convincing, cleverly alternating between the fierce and agonized highly complex character of Macbeth. His powerful voice had natural vitality and he plumbed the full operatic possibilities with confidence. Yiannoudes’ excerpt from Otello – Credo in un Dio crudel too showed his accomplishments as a singer. His voice has extraordinary color and seemingly limitless technical ease. This was a passionate and emotional performance filled with energy and utmost commitment."
−Cyprus Mail (Nicosia), September 4, 2009
(Eugene Concert Choir)
“The entertaining Constantinos Yiannoudes used his forceful baritone to great dramatic effect in a parlando section from Giaccomo Puccini’s “Il Tabarro” and in a Greek tango.”
−The Register-Guard (Oregon), May 12, 2009
“Yiannoudes has a creamy, noble sound, which he used well.”
−The Register-Guard (Oregon), May 1, 2007
OPERA
Belcore (L’elisir d’amore)
“Yiannoudes' deep baritone leaves no doubt this man was born to sing, with dynamic stage presence and mastery of the role of Sergeant Belcore in voice and gesture.”
−North County News (New York), October 29-November 4, 2003
“The comic kingpin arrives in the form of baritone Constantinos Yiannoudes, who makes his entrance…with a hilarious choreography of struts, swaggers and poses - and a rather perverse fondness for his helmet. The largest voice on stage belongs to Yiannoudes, a booming instrument well-suited to the cocksure Belcore.”
−Metro (San José, CA), November 16, 2000
“From the moment he walked onto the stage, Constantinos Yiannoudes, as bombastic Sergeant Belcore, stole the show. Not only does he possess a big baritone voice and a commanding presence, he knows how to milk a situation and a gesture.”
−Oakland Tribune (Oakland, CA), November 14, 2000
Count Almaviva (Le nozze di Figaro)
“Also making a strong impact was Constantinos Yiannoudes as the Count. The Cyprian baritone was an inspired presence. His dark, ample baritone is well-suited to the role of the hypocritical Count, and Yiannoudes delivered a superbly robust Act 3 aria, as well as bringing understated comic flair to the Count's mounting frustration and confusion.”
−Sun-Sentinel (Florida), March 4, 2006
“Constantinos Yiannoudes' wily, willful, handsome Count unfurled a strong, rich and vibrant baritone that seemed at ease throughout his range.”
−The Observer (Florida), June LeBell-WQXR, February 16, 2006
“Constantinos Yiannoudes creates a handsome Count Almaviva filled with arrogance, vanity, and an exceptional voice.”
−Sarasota Herald Tribune (Florida), February 14, 2006
“Constantinos Yiannoudes’ Count is powerfully sung.”
−St. Petersburg Times (Florida), February 14, 2006
“The aristocracy was the Count’s ticket to paradise. Money, power and a lively libido-he had it all- Yiannoudes is a polished and poised artist, eminently suited to the role.”
−North County News, May 30-June 5, 2001
Don Giovanni (Don Giovanni)
“Yiannoudes is a fascinating combination of charm and menace, just as he should be."
“The handsome nobleman…[was] dashingly played by baritone Constantinos Yiannoudes.”
−Courier Times ( Pennsylvania), April 2005
“Baritone Constantinos Yiannoudes sang the role fluently and expressively. ”
−The Washington Post, March 19, 2002
Drosselmeir (The Tale of the Nutcracker)
“He sang with consistently burnished, rich tone.”
−Opera News, April 2000
Enrico (Lucia di Lammermoor)
“Yiannoudes is a baritone that is so rich, it transfixes the audience with its power.”
−North County News (New York), November 15, 2000
“His wonderful voice won him the day.”
−The Times Herald-Record (San José, CA), October 20, 2000
Escamillo (Carmen)
“As Escamillo, the toreador who draws Carmen’s eye, baritone Constantinos Yiannoudes sang stylishly and, in his triumphant entrance, commanded the stage like a celebrity.”
−Express News (San Antonio), June 20, 2004
“Judging by the bravos, baritone Constantinos Yiannoudes as Escamillo was the hit of the performance. His deep, rich, powerful voice matches his portrayal of the toreador who jumps around like a bull displaying his strength and virility.”
−Oakland Tribune, February 14, 2000
Figaro (Il barbiere di Siviglia)
“In his second appearance with Eugene Opera, Constantinos Yiannoudes acted and sang the part perfectly. His face gave away Figaro's love of money, control and high jinks. Yiannoudes as Figaro brought a stentorian baritone voice and solid acting skills.”
−The Register Guard, January 2006
“The cast was headed by a fiery Constantinos Yiannoudes, who linked a Dustin Hoffman-like set of marvelous facial expressions with his rich baritone voice. Letting the patter songs ripple over the tongue with agility was just one of the skills he brought to the title role.”
−Milpitas Post, September 16, 1999
Ford (Falstaff)
“The ear-opener of the evening was the splendid singing of Constantinos Yiannoudes as Ford. He is a fine baritone and a joy to hear.”
−San Francisco Classical Voice, September 8, 2001
Germont (La traviata)
“Constantinos Yiannoudes sang well, portraying Germont senior with paternal dignity.”
−The New York Times, July 19, 2008
“Baritone Constantinos Yiannoudes was outstanding as the father scandalized by his son’s liaison with a courtesan…Yiannoudes’ superb singing in concert with Manzi gave credence to the difficult dramatic dilemma…”
−The Register Guard, January 3, 2002
“The father was Constantinos Yiannoudes whose rich, velvety baritone heightened the dramatic tension…”
−Milpitas Post, May 11, 2000
Il Conte di Luna (Il Trovatore)
“Strong and commanding as Count di Luna, he brooked no rival competing for the love of Leonora. His many portrayals in Taconic Opera productions, calling for raw emotion or high comedy, never disappoint.”
− North County News (New York), October 29, 2008
Marcello (La bohème)
“Constantinos Yiannoudes, making his company debut, was a strong Marcello.”
−The New York Times, July 5, 2003
Michele (Il tabarro)
“Baritone Constantinos Yiannoudes as Michele portrayed the role of barge captain with ease and assurance. Yiannoudes was a quietly powerful villain.”
− North County News (Yorktown Heights, New York), May 6, 2009
Rigoletto (Rigoletto)
“Baritone Constantinos Yiannoudes was exceptionally rich vocally as Rigoletto.”
−The Oneida Daily Dispatch, November 1, 2007
Rodolfo (La bohème by Leoncavallo)
“Constantinos Yiannoudes sang a sturdy, moving Rodolfo."
−Opera News (on-line edition), November, 2003
Scarpia (Tosca)
“New York-based baritone Constantinos Yiannoudes didn’t allow his character to devolve into a caricature of unadulterated evil. Vocally, he held his own, expounding on his wicked scheme in a riveting Act 1 aria, even as extras flooded the stage and conductor Joseph Mechavich’s orchestra played full blast.”
−The Forum (North Dakota), October 31, 2006
Sharpless (Madama Butterfly)
“Baritone Constantinos Yiannoudes has a tremendous voice, consummate grasp of portrayal, and striking resemblance to actor Dustin Hoffman, giving him immense cachet . Ears are attuned to catch every syllable and hearts beat faster when he’s on stage.”
−North County News (New York), March 14-March 20, 2001
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