...His voice is warm and sizable, with a youthful bloom. He sang Ernani with verve and ardor but also taste. Handsome and limber, Mr. De Biasio embodied his hotheaded character, torn between his love for Elvira and determination to seek revenge against Don Carlo, whom Ernani blames for the death of his father....he is understandibly in demand these days... The New York Times, February 3rd 2012

Italian tenor Roberto De Biasio, whose glistening, penetrating voice was heard to fine effect in Pollione's opening aria. Vivien Schweitzer, New York Times

Even more ardent was the Pollione, Sicilian tenor Roberto De Biasio. His was real bel canto singing, but with power and deep dramatic involvement, and he sounded like a young José Carreras. One would like to see De Biasio on stage. Lee Eiseman, Classical-scene.com

Roberto De Biasio showed off a gleaming tenor and an appealingly natural sense of Italianate phrasing Jeremy Eichler, The Globe

Tenor Roberto De Basio was in splendid voice as Pollione [...} His tone was creamy-textured, consistent and beautifully-produced from top to bottom. David Wright, The Classical review

'and there was a notable Met debut by an appealing and handsome 42-year-old Sicilian tenor, Roberto De Biasio. He replaced Ramón Vargas, who was ill, as Amelia’s lover, Gabriele Adorno. Formerly a professional flutist, Mr. De Biasio has been singing for only four years, to increasing success [...] he has a virile voice and potential.' The New York Times

'Roberto De Biasio made his unscheduled Met debut replacing an indisposed Ramón Vargas.  His biography reports that the 42 year-old Sicilian tenor has been active as an opera singer for only four years, after a career as a flautist. [...] De Biasio was incomparably more satisfactory, and revealed a sturdy, virile and attractive instrument, a willingness to sing piano when needed, a decent technique (the notes around the passaggio were properly prepared and covered), and a sensitive phrasing.  His top was also for the most part reliable and secure. For the record, in a role that is often overlooked and neglected, after his aria De Biasio obtained the loudest and longest applause of the evening.' Nicola Lischi, Opera Britannia

'Then there was Roberto De Biasio as Maria/Amelia's intended--and in for the ill Ramon Vargas (who'll appear for the remaining four performances). De Biasio generously offered consistently sweet tones supported by admirable vocal heft. It's his house debut, and he couldn't have provided a better one -- not if the ticket buyers were any barometer.' David Finkle, The Huffington Post