Criticism

Despite his worldwide popularity and praise, Bocelli's voice, more specifically his interpretation of Opera, has been regularly criticized by classical music critics. These include Bernard Holland of The New York Times, and Andrew Clement of The Guardian.^[144] Some point to his "poor phrasing, uneven tone and lack of technique."^[145]

In 1999, The New York Times chief music critic Anthony Tommasini in his review of Bocelli's North American opera debut at the Detroit Opera House in the title role of Massenet's Werther commented, "The basic color of Mr. Bocelli's voice is warm and pleasant, but he lacks the technique to support and project his sound. His sustained notes wobble. His soft high notes are painfully weak. Inadequate breath control often forces him to clip off notes prematurely at the end of phrases."^[146] In December 2000 Tommasini again criticised Bocelli, this time for his La bohème album when he claimed that Bocelli "still has trouble with basic things, like breath support" and his voice had been "carefully recorded", "to help it match the trained voices of the other cast members in fullness and presence."^[147]

In describing Bocelli's singing, New York Times music critic Bernard Holland noted, "the tone is rasping, thin and, in general, poorly supported. Even the most modest upward movement thins it even more, signalling what appears to be the onset of strangulation. To his credit, Mr Bocelli sings mostly in tune. But his phrasing tends toward carelessness and rhythmic jumble... The diction is not clear."^[145] Furthermore, Holland observed that "The critic's duty is to report that Mr Bocelli is not a very good singer." The Associated Press reported "Passion? Yes. Power. No. Bocelli's voice – though robust in spirit and precisely in tune, even in the upper register – had a thin quality that never opened up."^[148] Similarly, classical music critic Andrew Clement found Bocelli's studio opera recordings consistently disappointing in quality: "Bocelli's profoundly unmusical contribution, with its unvaryingly coarse tone, wayward intonation and never a phrase properly shaped, fatally undermines all their contributions."^[149] Anne Midgette of The New York Times agreed, noting "a thinness of voice, oddly anemic phrasing (including shortchanging upper notes of phrases in a most untenorial manner), a curious lack of expression."^[150]

During a 2009 performance in New York, the music critic Steve Smith wrote "For cognoscenti of vocal artistry the risks involved in Mr. Bocelli’s undertakings, both then and now, need no explanation. Substantial technical shortcomings masked by amplification are laid bare in a more conventional classical setting. Mr. Bocelli’s tone can be pleasant, and his pitch is generally secure. But his voice is small and not well supported; his phrasing, wayward and oddly inexpressive."^[151]