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Sunnyboy Dladla est l’un des ténors rossiniens les plus recherchés de sa génération. Connu pour sa voix « vive, cristalline, au timbre éclatant et à la présence rayonnante », Dladla combine une carrière lyrique intense avec de nombreuses représentations en concert.
Au cours de la saison 2022-2023, il s’est produit au Festival d’Édimbourg dans Carmina Burana sous la direction de Sir Donald Runnicles et à l’Opernhaus de Zurich dans Lessons in Love and Violence de G. Benjamin. Il prend également des rôles au Staatsoper de Hanovre, notamment le comte Almaviva (Barbiere di Siviglia), Peter Quint (The Turn of the Screw) et Leopold (La Juive).
Au cours de la saison 2023-2024, il fait ses débuts au Gran Teatre del Liceu de Barcelone dans le rôle de Don Ramiro (La Cenerentola) et débute dans le rôle d’Oraspe (Aureliano in Palmira) au Rossini Opera Festival. Il a interprété Carmina Burana avec l’Orchestre symphonique de Londres sous la direction de Gianandrea Noseda et a repris le rôle du comte Almaviva au Staatsoper de Hanovre.
Dladla a participé à plusieurs enregistrements, dont Mose in Egitto (Bregenzer Festspiel) et Les Contes d’Hoffmann (Dutch National Opera). Depuis qu’il a rejoint le Staatsoper de Hanovre en 2020, il a interprété des rôles de premier plan tels que Ferrando (Cosi fan Tutte), Cassio (Otello) et Tempo (Il Trionfo del Tempo e di Disinganno).
Au niveau international, M. Dladla s’est produit aux BBC Proms avec Sir Simon Rattle, a interprété le Requiem de Mozart avec le BBC National Orchestra of Wales et a fait ses débuts aux États-Unis dans le Messie de Haendel avec le National Symphony Orchestra. Parmi les autres concerts marquants, citons Carmina Burana avec l’Orchestre symphonique de Toronto et au Grand Teton Festival.
Interprète habituel du comte Almaviva (Barbiere di Siviglia), M. Dladla a interprété ce rôle au Rossini Opera Festival, au Deutsche Oper Berlin et au Staatsoper Stuttgart, entre autres. Son répertoire comprend également Don Ramiro (La Cenerentola) et Paolino (Il Matrimonio Segreto), mettant en valeur sa maîtrise des rôles de colorature.
Né à Piet-Retief, en Afrique du Sud, Sunnyboy Dladla a obtenu son diplôme à l’université du Cap, puis une maîtrise à la Zürcher Hochschule der Künste. Sa riche carrière continue de mettre en valeur son remarquable talent vocal et sa présence sur scène dans le monde entier.
Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others. In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival. In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. In 2016 – 2018 was a member/principal soloist of the company/Bolshoi theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara. In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival. In 2019 has been awarded «Casta Diva» the national opera award. Recently he sang Don Giovanni in Palm Beach and Die Betrothal in a Monastery at Staatsoper in Berlin, The Tale of Tzsar Saltan in Bruxelles, The Magic Flute in Los Angeles, Eugene Onegin in Oslo. Among his future commitments: Eugene Onegin in Vienna, Falstaff in Munich, Don Giovanni in Los Angeles.
American tenor, AJ Glueckert is making this season his house debut at the Teatro del Maggio Musicale Fiorentino in Beethoven’s 9th Symphony under the baton of Zubin Mehta and as tenor/Bacchus in Strauss’ Ariadne auf Naxos under the baton of Daniele Gatti.
At Oper Frankfurt, where he has been an ensemble member since 2016/17, he will appear as Don José (Carmen), as the title character in Wagner’s Lohengrin, and as Herod in Strauss’ Salome. In recent years he has won over the audiences in Frankfurt in versatile roles such as Edrisi (Król Roger), Count Vaudémont (Iolanta), Flamand (Capriccio), Lyonel (Martha, CD released by OehmsClassics), Froh (Das Rheingold), Skuratov (From the House of the Dead) Erik (Der fliegende Holländer) and as the Prince in Rusalka, a role which he had previously sung at Minnesota Opera and New Orleans Opera.
His role debut as Kaiser (Die Frau ohne Schatten) at De Nationale Opera in Amsterdam, planned for the 2019/20 season, fell victim to the Covid-19-related cancellations. His important role debut as Lohengrin at the Tiroler Festspiele Erl, as well as concerts with the Budapest Festival Orchestra under Iván Fischer (Ariadne auf Naxos/Bacchus) in Vicenza, and with the Yomiuri Nippon Symphony Orchestra (Beethoven’s 9th Symphony) in Tokyo could fortunately take place despite the pandemic.
In the summer of 2018, AJ Glueckert was heard as Pinkerton in Madama Butterfly at Santa Fe Opera. In 2016/17 he made his Metropolitan Opera debut as Erik in Der fliegende Holländer under the baton of Yannick Nézet-Séguin. He debuted as Bacchus in Ariadne auf Naxos at the Glyndebourne Festival and previously at the Opera Theatre of Saint Louis.
AJ Glueckert has a special connection to the San Francisco Opera as a former Adler Fellow and participant in the Merola Opera Program. He has most recently appeared there as Beadle Bamford (Sweeney Todd), Normanno (Lucia di Lammermoor) and Kunz Vogelsang (Die Meistersinger von Nürnberg).
He made his role debut as Don José in Carmen with Pittsburgh Opera in 2015. At Philadelphia Opera and Minnesota Opera he sang in the world premiere of Kevin Puts’ opera Silent Night. He is a graduate of the Santa Fe Opera and Utah Opera Young Artists programmes. At Utah Opera he was heard in the role of the Imbecile in Boris Godunov.
In addition to opera performances, AJ Glueckert works with many orchestra, amongst others with the Utah Symphony and the Santa Clara and Sacramento Symphony Orchestras.
A graduate of the San Francisco Conservatory of Music, he has twice won regional competitions at the Metropolitan Opera National Auditions.
Precise vocal control, clear diction, intelligent musicality and an ability to get to the heart of everything he sings all ensure Christoph Prégardien’s place among the world’s foremost lyric tenors. Especially revered as a Lieder singer, he kicks off the 2019/2020 season with concerts at the Schubertiade Hohenems and the Oxford Lieder Festival. He then performs in the US on tour with pianist Julius Drake, before the pair give joint recitals at London’s Wigmore Hall and in Madrid. In the spring he will tour with Le Concert Lorrain, followed by recitals in Hong Kong with Roger Vignoles and in Zurich with Hartmut Höll and Udo Samel, among others, with additional appearances at the Ludwigsburger Schlossfestspiele and at the Konserthuset in Stockholm.
Christoph Prégardien regularly appears with renowned orchestras the world over. He has worked with the Berlin and Vienna Philharmonics, the Amsterdam Concertgebouw Orchestra, the Philharmonia Orchestra, the Orchestre Philharmonique de Radio France, as well as the Boston and San Francisco Symphonies, along with conductors such as Barenboim, Metzmacher and Thielemann. His wide orchestral repertoire includes the great baroque, classical and Romantic oratorios and passions, as well as works from the 17th and 20th centuries. In opera, his roles have included, among others, Tamino, Almaviva, Fenton (Falstaff), Don Ottavio, Titus, Ulisse and Idomeneo.
His extensive experience singing the Evangelist roles, together with his close working relationship with conductors such as Nagano, Chailly, Herreweghe, Harnoncourt, Luisi and Gardiner have provided him with the perfect basis for his increasing work conducting the works of Bach. Following the success of his conducting debut in 2012, leading Le Concert Lorrain and the Nederlands Kammerkoor in Bach’s St. John’s Passion, he has also become in-demand as a conductor of this repertoire. In 2015 he led Le Concert Lorrain and the Balthasar-Neumann Choir, this time in the St. Matthew’s Passion, and in the following years returned to lead Le Concert Lorrain and the Dresdner Kammerchor on tour with Bach’s Christmas Oratorio. In 2019 he made his debut leading a symphony orchestra, conducting the Duisburg Philharmonic in works including Mozart’s Requiem, and also led the Collegium Vocale Gent at a celebration concert for Philippe Herreweghe’s 70th birthday; together with the ensemble he will take part in a major European tour of Bach’s Christmas Oratorio in December.
The singer has recorded much of his repertoire on a discography of over 150 records, which have received awards such as the Orphée d’Or of the Académie du Disque Lyrique, the Edison Award, the Cannes Classical Award and the Diapason d’Or. For the label Challenge Classics he has recorded Schubert’s Schwanengesang with Andreas Staier and Die schöne Müllerin with Michael Gees – selected as Editor’s Choice by Gramophone magazine and awarded the MIDEM Record of the Year – followed by Hugo Wolf’s Italienisches Liederbuch with Julia Kleiter, Between Life and Death, Wanderer and the Grammy-nominated Winterreise disc – all with Michael Gees – as well as Father and Son with his son Julian Prégardien. His Schubert CD Poetisches Tagebuch (with Julius Drake) was awarded the German Critics’ Award 2016. His most recent CD releases include A Matter of Heart – songs for voice, horn and piano with Olivier Darbellay and Michael Gees – as well as a recording of passion cantatas by Telemann and Bach with the Vox Orchester for Sony (where he appears as a baritone for the first time), along with Auf den Flügeln des Gesanges with Cyprien Katsaris for Challenge, featuring Romantic songs and their piano transcriptions. In autumn 2019, also for Challenge, a new recording of Schumann’s Dichterliebe and Wagner’s Wesendonck Liedern (with Michael Gees) will be released.
Teaching remains an important part of Christoph Prégardien’s musical life. Following many years at the Hochschule für Musik und Theater in Zurich, he gives masterclasses for young singers the world over and since 2004 has been a professor at the Academy of Music in Cologne.
L’Australien Stuart Skelton compte parmi les ténors les plus courus au monde. Sa voix généreuse s’épanouit dans les rôles-titres de Parsifal et Lohengrin, ainsi qu’en Siegmund (Die Walküre), sa partition de prédilection avec laquelle il a fait ses débuts à la Royal Opera House de Londres, et qui lui a valu un Sir Robert Helpmann Award en 2004. Le même prix a couronné six ans plus tard son interprétation de Peter Grimes (Britten), récemment enregistrée en septembre 2020 à Londres avec son partenaire musical récurrent, Edward Gardner. Pour Tristan (Tristan und Isolde), qu’il a incarné pour la première fois à Baden-Baden en 2016 avec Sir Simon Rattle et l’Orchestre Philharmonique de Berlin, puis au Metropolitan Opera et à l’English National Opera, il a reçu une nomination aux Laurence Olivier Awards.
Piotr Beczala is one of the most sought-after tenors of our time and a constant guest in the world’s leading opera houses. The Polish-born artist is acclaimed by audiences and critics alike not only for the beauty of his voice, but also for his ardent commitment to each character he portrays.
Piotr Beczala´s 2016-17 season will feature returns to Chicago, New York, Berlin, Barcelona, Vienna, Zürich, and beyond. Following a recital with San Diego Opera, Piotr encores his signature portrayal of Edgardo in a new-to-Chicago production of Lucia di Lammermoor at the Lyric Opera of Chicago. From there, he heads to New York for a revival of La Bohème at the Metropolitan Opera. He also joins a star-studded lineup of colleagues on the Met stage to celebrate the company’s 50th anniversary at Lincoln Center. Rodolfo in Puccini’s bohemian masterwork is also the vehicle for Piotr’s return to the Deutsche Oper Berlin. Furthermore Piotr Beczala can be heard in Barcelona with a revival of Massenet’s Werther at the Gran Teatre del Liceu paired with a recital at the city’s Palau de la Música. The recitals continue with stops in Frankfurt, Graz, Berlin, and Hamburg. Returning to the Wiener Staatsoper stage, Piotr headlines a revival of Un ballo in maschera before joining Opernhaus Zürich for a new production of Léhar’s Das Land des Lächelns in the role of Prince Sou-Chong.
Since his debut as Duca in Rigoletto in 2006, Piotr Beczala is a regular guest at the Metropolitan Opera New York. Here he has performed in a new production of Tchaikovsky’s Eugene Onegin opposite Anna Netrebko, Prince in Dvorak’s Rusalka, Edgardo in Donizetti’s Lucia di Lammermoor, Rodolfo (La Bohème), as well as in the title roles of Gounod’s Roméo et Juliette and Faust. In 2011 he accompanied the MET on a tour to Japan, singing Rodolfo and Edgardo. 2012 saw Piotr Beczala make his role debut as Chevalier des Grieux in Laurent Pelly’s new production of Manon, alongside Anna Netrebko as the eponymous heroine, conducted by Fabio Luisi. The production was part of the “HD live” series by the MET and was broadcast live in cinemas throughout the US and over 50 countries world-wide. It was released on DVD, as was his interpretation of the Duke in a new production of Rigoletto, alongside Diana Damrau in January 2013, for which he received the ECHO Klassik Award “Singer of the Year” in 2014. In the 2015/16 season he was making his highly acclaimed debut in the title role of Wagner´s Lohengrin opposite Anna Netrebko at the Semperoper Dresden.
At Teatro alla Scala in Milan Piotr Beczala made his debut in 2006 singing Duca in Rigoletto, returning later as Rodolfo in La Bohème. The tenor also opened the 13/14 season for the first time, singing Alfredo in a new production of Verdi’s La Traviata. Piotr Beczala also regularly sings at the State Operas in Munich and in Vienna. On the stage of the National Theatre in Munich, he interpreted the Prince, Alfredo, the Italian Singer in Der Rosenkavalier, and the title role of Massenet’s Werther. During the Munich Opera Festival, Piotr Beczala was heard as Alfredo in La Traviata. In Vienna he performed Roméo in Jürgen Flimm’s production of Roméo et Juliette, under the baton of Plácido Domingo. Since his Die Zauberflöte and Rodolfo in La Bohème. Piotr Beczala sang guest performances at the Nederlandse Opera, Théâtre de la Monnaie/de Munt, Staatsoper Hamburg, Deutsche Oper Berlin, Staatsoper Berlin, Grand Théâtre de Genève, Teatro Comunale di Bologna, Teatr Wielki (Warsaw), and the Mariinsky Theatre, amongst many others.
Piotr Beczala is a regular guest at the Salzburg Festival. Since his debut as Tamino in 1997 he has sung the cantata Rinaldo by Johannes Brahms under the baton of Sir Elliott Gardiner at the Whitsun Festival as well as Prince in Rusalka, Roméo in Roméo et Juliette, the title role in Gounod´s Faust and Rodolfo in Damiano Michieletto’s new production of La Bohème opposite Anna Netrebko during the Summer Festival. This production was broadcasted on TV and released on DVD by Deutsche Grammophon. Piotr Beczala also sang with Anna Netrebko in concert performances of Tchaikovsky’s Iolanta in 2011. In 2013 he was heard in Verdi’s Requiem with the Wiener Philharmoniker and Riccardo Muti conducting.
In addition to his operatic work, he has sung many of the great choral and orchestral vocal works with the world’s most distinguished orchestras and maestri. Celebrating his 20th stage anniversary Piotr Beczala gave a concert at Theatre Wielki in Warsaw in 2012. Also in 2012 he sang the New Year’s Eve concerts at the Semperoper Dresden for the second consecutive year. The concerts, which were led by Christian Thielemann, were broadcast on TV and released on CD and DVD by Deutsche Grammophon. In 2014 he joined a spectacular group of colleagues for Le Concert de Paris, an annual concert event and celebration at the Eiffel Tower with an estimated live audience of more than half a million people.
Piotr Beczala was born in Czechowice-Dziedzice in Southern Poland and received his initial vocal training at the Katowice Academy of Music, where he was given instruction by such illustrious singers as Pavel Lisitsian and Sena Jurinac. His first engagement was at the Landestheater Linz and in 1997 he became a company member of the Zürich Opera. The Zurich audience could hear him as Alfredo in La traviata, Edgardo in Lucia di Lammermoor, the title role of Faust, Tamino in Die Zauberflöte, Elvino in La Sonnambula, and also as the soloist in orchestral songs by Richard Strauss, Riccardo in Un Ballo in maschera as well as Rodolfo in La Bohème.
Piotr Beczala’s is represented on dozens of CDs in a vast array of works, ranging from staples of the repertory, including Faust live from Vienna (Orfeo) and La Traviata from Munich (Farao), which was nominated for a 2008 Grammy Award, to such rarely-heard works as Szymanowski’s Król Roger and Offenbach’s Rheinnixen (Accord) and Johann Strauss II’s Simplicius (EMI). In addition, Piotr Beczala sings on a recording of Lucia di Lammermoor with Natalie Dessay in the title role and Valery Gergiev leading the Mariinsky Opera on the Company’s own label.
Three solo aria CDs have been released on the Orfeo label. “Salut”, featuring French and Italian arias (2008), was followed by “Slavic Opera Arias”, with repertoire by Borodin, Tchaikovsky, Rimsky-Korsakov, Rachmaninoff, Moniuszko, Źeleński, Nowowiejski, Smetana and Dvořák. Opera News declared it #1 on its list of 2011’s “Twelve Best Recital Discs” & it received Classica’s coveted “Choc de l’année 2011”. In 2013 a Verdi album was released. Since 2012 Piotr Beczala is an exclusive artist of Deutsche Grammophon and released his second album “The French Collection” with the yellow label in February, 2015.
Argentinian tenor, Marcelo Álvarez, made an impressive European debut at the Teatro La Fenice, Venice and has since performed on the world’s most prestigious stages all over the world. With a vast repertoire from belcanto roles to French opera, from dramatic lirico pieno (full lyric) to spinto roles, Álvarez has appeared on the stages at the Metropolitan Opera House (New York), the Royal Opera House (London), the Opéra National de Paris, the Vienna State Opera, the Teatro Real in Madrid, the Teatro Colon in Buenos Aires and the Teatro alla Scala in Milan. Álvarez has released over 30 recordings with major record companies, including Sony and Decca.
One of the most exciting and in demand artists today, French tenor Stanislas de Barbeyrac came to international attention in in 2014 when he sang his first Tamino Die Zauberflöte at Aix-en-Provence Festival. A complex and compelling musician and actor, he has been in constant demand on the world’s most important opera stages such as Opéra National de Paris, Royal Opera House, Covent Garden, Wiener Staatsoper, Metropolitan Opera, Bayerische Staatsoper Munich, Dutch National Opera, Teatro Real Madrid, Grand Théâtre de Genève, San Francisco Opera, and at the Aix-en-Provence and Salzburg Festivals.
A vehicle for de Barbeyrac in the 2021/22 season is the title role of Pelleas Pelléas et Mélisande which he sings at Gran Teatre del Liceu and Theatre de Champs-Elysées as well as in concert in Cologne and Compiegne, France. He also makes his Wiener Staatsoper debut as Don Ottavio in a new production of Don Giovanni directed by Barrie Kosky and continues his exploration of the heroic repertoire by taking on the role of Florestan Fidelio with Insula Orchestra under the baton of Laurence Equilbey. Further engagements include a double appearance at the Verbier Festival as Don Ottavio and Mozart’s Requiem; several recital appearances in Paris and Barcelona; a concert with Gaëlle Arquez at the Festival d’Auvers-sur-Oise and Licinius La Vestale at Palazzetto Bru Zane.
Highlights of the last season include Tamino Die Zauberflöte and an exciting role debut in the title role La Clemenza di Tito, both at the Opéra National de Paris; a role debut as Don José in Carmen at the Opéra de Bordeaux and a solo recital in Paris. De Barbeyrac also received invitations to sing Pylade Iphigenie en Tauride at the Opéra National de Paris; Pelleas Pelléas et Mélisande in Bordeaux and Tamino at the Metropolitan Opera New York. Further engagements include a hugely acclaimed debut as Max Der Freischütz at Theatre de Champs-Elysées in Paris, Barbican Centre in London, and Opéra de Rouen; his debut as Don Carlos and Damon in a new production of Les Indes Galantes at Opéra National de Paris and Tamino Die Zauberflöte at Teatro Real.
Further appearances include Tamino, a reference role in his career, at Aix-en-Provence Festival, Dutch National Opera, Chorégies d’Orange; Opéra de Paris; Opernhaus Zürich, Grand Théâtre de Genève and in Budapest; Arbace Idomeneo at Royal Opera House, Covent Garden; Renaud in a new production of Gluck’s Armide at Wiener Staatsoper; Alfredo La Traviata at Semperoper Dresden and in Saint Etienne; Macduff Macbeth at Opéra de Marseille and Lensky Eugene Onegin at Théâtre du Châtelet. De Barberyac debuted as Don Ottavio Don Giovanni at the Drottningholms Slottsteater in Sweden together with Marc Minkowski, and has since performed it at San Francisco Opera, Metropolitan Opera, Bayerische Staatsoper and in a new production at Opéra National de Paris. A regular star of Opéra National de Paris he also appeared there as Pylade Iphigenie en Tauride and Gonzalve in L’Heure Espagnole. Another important role in de Barbeyrac’s repertoire is that of the Chevalier de la Force in Poulenc’s Dialogues des Carmélites, which he has performed at Opéra de Toulon, Nantes-Algers, Théâtre des Champs-Elysées, Bayerische Staatsoper, Théâtre Royal de la Monnaie in Brussels, Teatro Comunale in Bologna, and Dutch National Opera. In 2018 De Barbeyrac added another hugely celebrated role to his repertoire, that of Pelléas Pelléas et Mélisande which he first performed in Bordeaux and subsequently for his debut in Tokyo.
De Barbeyrac appears regularly in recital and concert in such works as Berlioz’s Requiem, Beethoven’s Symphony No. 9, and Mendelssohn’s Elijah. He made his Salzburg Festival debut in Mozart’s Davide Penitente and later returned to Salzburg for Haydn’s Die Schöpfung.
Stanislas de Barbeyrac studied at the Conservatoire de Bordeaux with Lionel Sarazzin, who remains his vocal mentor today. He has been a prize-winner at several prestigious competitions, including the Prix du Cercle Carpeaux, Prix Lyriques de l’AROP, and Queen Elisabeth International Competition in Brussels. De Barbeyrac joined the Atelier Lyrique of the Opéra de Paris in 2008 and subsequently began his operatic career at theatres in Nice, Tours, Toulon, Strasbourg, Metz, Marseille and Avignon, as well as at the Opéra de Paris, where he has appeared in many supporting roles, such as Walther von der Vogelweide in Tannhäuser, Evandre in Alceste and Narraboth Salome.
Freddie De Tommaso, doté d’une voix phénoménale et d’un talent dans la lignée des grands ténors italiens, a été propulsé sur le devant de la scène en remportant le Premier Prix, le Prix de Ténor Placido Domingo et le Prix Verdi lors du Concours International de Chant Viñas en 2018 à Barcelone. En décembre 2021, il a de nouveau fait la une lorsqu’il a remplacé au pied levé dans le rôle de Cavaradossi dans la production de Tosca au Royal Opera, devenant ainsi le plus jeune ténor à interpréter ce rôle sur cette scène emblématique et le premier Britannique depuis 1963. De Tommaso, qui devait à l’origine jouer ce rôle plus tard, est monté sur scène après le premier entracte, lorsque le ténor initialement prévu est tombé malade pendant le premier acte, ce qui a conduit la presse à proclamer unanimement la naissance d’une nouvelle étoile.
Artiste exclusif chez Decca Classics et premier ténor signé par le label depuis Jonas Kaufmann, son album de début, Passione, a atteint la première place des charts classiques et a récemment remporté le BBC Music Magazine Award du Meilleur Nouveau Talent. En juin 2022, son deuxième album, Il Tenore, a également grimpé directement à la première place dès sa sortie, tandis que son interprétation de Nessun Dorma, incluse dans l’album, a dépassé le million de streams.
Cette saison marque une nouvelle étape dans son ascension fulgurante avec une série d’apparitions passionnantes : au Royal Opera House en tant que Rodolfo dans La bohème et un retour dans le rôle de Cavaradossi ; au Teatro alla Scala de Milan en tant que Rodolfo dans La bohème ; à la Wiener Staatsoper dans le rôle de Macduff dans Macbeth ; ses débuts aux États-Unis en tant que Cavaradossi à l’Opéra de Santa Fe ; à l’Arena di Verona dans le rôle de Don José dans Carmen ; à la Staatsoper Unter den Linden de Berlin en tant que ténor italien dans Der Rosenkavalier et Alfredo dans La Traviata ; et à l’Opéra National des Pays-Bas pour une production scénique du Requiem de Verdi. Sur la scène de concert, il se produira lors d’un concert en plein air Opera for All à Munich aux côtés de Sonya Yoncheva ; au concert du Nouvel An au Teatro La Fenice à Venise ; dans Tosca et le Requiem de Verdi au Festival International de Bergen et avec l’Orchestre National de Lyon ; pour un gala d’opéra au Teatro di San Carlo à Naples ; en récital au Festival Castell Peralada ; pour le concert d’ouverture du Festival Kissinger Sommer, ainsi qu’au Verbier Festival.
La saison dernière, De Tommaso a effectué des débuts importants avec de nouvelles compagnies et de nouveaux rôles : au Teatro alla Scala dans le rôle de Maurizio dans la production de Adriana Lecouvreur de David McVicar ; à la Wiener Staatsoper dans le rôle de Don José dans Carmen ; au Théâtre Bolchoï en tant que Cavaradossi dans Tosca ; au Semperoper de Dresde dans le rôle de Pinkerton dans une nouvelle production de Madama Butterfly, un rôle qu’il a également repris au Royal Opera House, ainsi que le très convoité rôle de Cavaradossi dans Tosca ; et à l’Arena di Verona dans le rôle d’Alfredo dans La Traviata. Il est également revenu à la Bayerische Staatsoper pour interpréter Macduff dans Macbeth, un rôle qu’il a également joué à la Wiener Staatsoper ; et a remplacé au pied levé dans le rôle du ténor italien dans Der Rosenkavalier, faisant ainsi ses débuts à la Staatsoper Unter den Linden de Berlin. Ses moments forts en concert comprenaient le Requiem de Verdi au Teatro Massimo de Palerme ; Riccardo dans Un Ballo in Maschera au Verbier Festival ; un récital d’opéra avec Lise Davidsen au Barbican et en concert à Oslo ; ainsi qu’un récital solo à Sisteron, en France.
À l’opéra, en concert ou en musique de chambre, le ténor Ian Bostridge se rend dans des salles et festivals d’exception. Le Wiener Konzerthaus, le Carnegie Hall de New York, le Concertgebouw d’Amsterdam et le Wigmore Hall de Londres ont en commun d’avoir été ses résidences artistiques, tout comme le lien unique en son genre qu’il tisse avec le Seoul Philharmonic Orchestra pendant la saison 2018/19. Le répertoire lyrique du Britannique comprend notamment Aschenbach dans Death in Venice (Deutsche Oper) et Peter Quint dans The Turn of the Screw (Teatro alla Scala). En 2021/22, les rendez-vous sont nombreux : tournées européennes de l’Orfeo de Monteverdi avec Europa Galante et de Die Jahreszeiten de Haydn avec l’Orchestra of the Eighteenth Century, nouvel album chez Pentatone, collaborations avec les pianistes Lars Vogt, Sir Antonio Pappano, Angela Hewitt et son acolyte de longue date Julius Drake.