Classical Music Buzz > BARIHUNKS ®
BARIHUNKS ®
Michael
The Sexiest Baritone Hunks from Opera
2464 Entries
Hadleigh Adams (Photo: Scott Wall/San Francisco Opera)
The innovative SF Opera Lab will be presenting their next Pop-Up concert on April Fool's Day with performances by barihunks Hadleigh Adams, Anthony Reed and Brad Walker. All three are alums of the prestigious Merola Opera Program who went on to become Adler Fellows with the San Francisco Opera.

The SF Opera Lab explores innovative programming that celebrates the power of the human voice theatrically in intimate spaces beyond the War Memorial Opera House. They are also intended to be informal and drinks are allowed at the performance. The concert will be performed at The Chapel, a converted mortuary that was built in 1914 and has been renovated into a live music venue. 
 
Bass-barihunks Anthony Reed and Brad Walker
The concert is on Friday, April 1st (doors at 8:15pm/show at 9pm) and there will be an after-party with a live DJ. Adams will perform and emcee the concert.  Tickets are $20 advance and $25 at the door. Seating is limited, so order tickets in advance.

Hadleigh Adams will be performing Falke in Die Fledermaus with the Cincinnati Opera in June. Anthony Reed can be seen this season at the San Francisco Opera in Jenufa, Andrea Chenier, Aida and Madama Butterfly. Brad Walker will be appearing with the San Francisco Opera this season in Carmen, Andrea Chenier and The Makropulos Case.

Add to Google Reader or Homepage

1 month ago | |
Tag
| Read Full Story
Damian Pass as Pallante in Agrippina
If you love sexy men (and women), then add the live stream of Handel’s Agrippina from the Theater an der Wien to your list of "must see" performances.  The new production from director Robert Carsen casts a satirical eye on Ancient Rome, with political and sexual machination as Agrippina schemes to place her son, Nerone (Nero), on the throne and the seductive Poppea juggles with three lovers.

The cast includes barihunk Damian Pass as Pallante, hunken-countertenor Jake Arditti as Nerone, the stunning Danielle de Niese as Poppea, Patricia Bardon in the title role, Fillippo Mineccia as Ottone, Mika Kares as Claudio, Tom Verney as Narciso and Christoph Seidl as Lesbo. Thomas Hengelbrock conducts his Balthasar Neumann Ensemble.

Jake Arditti in Agrippina
The performance will live streamed on Sonostream.tv on March 29th at 7 PM CEST (2 PM EST, 11 AM PST). There is an additional performance remaining on March 31 and tickets are available online.

In 1707-1708, Agrippina gave the young Handel his big chance to establish his reputation as an opera composer in Italy. The commission came from the famous Teatro San Giovanni Crisostomo in Venice, which was funded by the influential Grimani family. The Venetians were extremely demanding when it came to music, but Handel succeeded in creating a wise, gripping and entertaining opera on the basis of the humorous libretto about lust for power and sexual desires in Ancient Rome. The success was overwhelming.


A scene from Robert Carsen's Agrippina in Vienna
The story takes place in Rome, 54 A.D. where Agrippina is married to the Roman Emperor Claudio, who is currently away on a crusade. When the rumor surfaces that he has been killed in battle, she tries to make her son Nerone, the result of an earlier liaison with another man, emperor. It turns out, however, that Claudio is not dead, but was saved by Ottone, one of his generals. Out of gratitude, Claudio has made him his heir. Consequently, there are now two heirs. The situation is made even more complicated by the fact that Claudio, Nerone and Ottone are all in love with the same woman: Poppea. Who will win the woman and the throne? Agrippina schemes, sometimes successfully, sometimes less so. In the end, Ottone wins Poppea – for the time being – and Nerone is heir to the throne. But as we know from history and Monteverdi’s L’incoronazione di Poppea things are not going to remain this way for long.

Add to Google Reader or Homepage

1 month ago | |
Tag
| Read Full Story
André Courville (photo by Dario Acosta)

André Courville (photo by Dario Acosta)
Barihunk André Courville is featured in Opera News accompanied by two gorgeous photos from New York photographer Dario Acosta. Here is the feature from Sound Bites in Opera News:

ANDRÉ COURVILLE began to sing the “Air du tambour-major,” from Thomas’s Caïdat Los Angeles’s Loren L. Zachary Society Competition last May, and suddenly there was no doubt who was going to take home the $12,500 top prize. It was one of those jaw-dropping moments when you sense a singer stepping into his own brilliant future. Courville’s basso cantante has both smooth richness and bite, and the Thomas aria was an inspired choice. “It has a fun melody, fast runs at the end, high notes and legato line,” says the twenty-nine-year-old Courville. “It has everything. I didn’t see it as a competition, though. I always have the same objective—to reach the audience and make them feel something. It’s a performance for me, whether or not I’m competing for a prize or a job.” This May, he is bass soloist in Beethoven’s Missa Solemnis, with the Cecilia Chorus of New York at Carnegie Hall.

[Continue reading at OPERA NEWS. They do not allow for full article reprints]

Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story

Davon Tines in Only the Sound Remains (right)
Bass-barihunk Davone Tines is starring in Kaija Saariaho’s new double bill Only the Sound Remains, which includes Tsunemasa (Always Strong) and Hagoromo (Feather Mantle). The pieces are based n 14th-century Japanese Noh theatre works brought to the US by American art historian and Buddhist convert Ernest Fenollosa in the early 20th century and later pieced together by poet Ezra Pound. They are being directed by Peter Sellars.

The operas are scored for small ensemble of live electronics with acoustic sound and two singers — baritone and countertenor, who is famed countertenor Philippe Jaroussky. Both characters narrate encounters with the supernatural. Tines and Jaroussky perform the earth/spirit counterparts of the two pieces, the ghost and priest for Tsunemasa, and the fisherman and angel for Hagoromo.

Davon Tines sings Ol' Man River:
The Japanese Nôh theatre was born from the Buddhist idea that light is concealed largely in darkness, so as not to blind mere mortals. There is little action in Only the Sound Remains, which is meant to heighten the tension, concentration and symbolism.

There are performances remaining on March 27 and 29 and then it heads to the Finnish National Opera Helsinki, Opéra national de Paris, Teatro Real in Madrid and the Canadian Opera Company in Toronto. Tickets are available online

Tines is building an international career commanding a broad spectrum of opera and concert performances. Recent performances include programs of Bach and Rameau at Alice Tully Hall, the U.S. premiere of Meanachem Zur's Cartoons at Lincoln Center and Matthew Aucoin's new opera Crossing, which we featured on the site. He is a 2009 graduate of Harvard College and received a Masters degree in voice from The Juilliard School in 2013.

Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story
David Castillo as Atzuko in ¡Figaro! (90210) (Photo by Ben Gibbs, courtesy of LA Opera)
After a successful run at the Los Angeles Opera, ¡Figaro! (90210) is now being performed in New York's Times Square from March 19-April 3. The opera is an updated and rewritten version of Mozart's Le nozze di Figaro about class and power. The piece is set in present-day Los Angeles and filled with pop references,  contemporary slang and includes current topics like immigration reform and income inequality.

David Castillo, who we recently featured in his successful run as Anthony Hope in Townsend Opera's Sweeney Todd, will reprise the role of the stoner Atzuko. (Don't miss our interview with him). He's joined by barihunk Luke Scott as Paul Conti, José Adán Pérez as Figaro and Ethan Herschenfeld as Babayan. Other cast members include Samarie Alicea as Susana, Raquel Suarez Groen, Dwayne A. Washington as teenage troublemaker Li'l B-Man, Emma Grimsley, Sahoko Sato Timpone, Lori Mirabal and Michael Kuhn. Sets are designed by Steven C. Kemp, costumes designed by Lux Haac and lighting designed by Gina Scheer.

Luke Scott who plays Paul Conti
The libretto is in English and "Spanglish" and is about the undocumented workers Figaro and Susana who can't wait to get married. On their way to the altar they have to navigate a world of lecherous bosses, Botoxed starlets, bumbling human traffickers, ambitious hip-hoppers, and pothead gardeners in a wild adventure that recasts the classic opera as a madcap comedy about citizenship in today's America.

Performances are at The Duke on 42nd Street and tickets are available online.

On April 16 and 17, Castillo will be a soloist in the Los Angeles Master Chorale's staged production of Handel's Alexander's Feast at Walt Disney Concert Hall.

Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story
Gianluca Margheri as a very believable Don Giovanni
Barihunk Gianluca Margheri just finished performing the title role in Mozart's Don Giovanni at the Théâtre de la Colonne in Miramas, France, where these photos were taken. We can certainly understand how thousands of women would fall under the seductive spell of someone who looked like this!
He now takes the red-themed production by Pierre Thirion-Vallet to Théâtre des Sablons in Neuilly sur Seine, France for performances on March 19 and 20.
Other upcoming shows for the Italian singer include Rossini's Petite Messe Solennele in Palermo on April 11, Rossini's La Cenerentola in Palermo on April 21 and 26, Purcell's The Fairy Queen at the Hungarian State Opera from June 17-23 and Mozart's Le nozze di Figaro in St. Gallen beginning on September 17 and running through November 25. 

Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story
Pianist Peter Dugan with barihunk John Brancy (l-r)
Barihunk John Brancy and pianist Peter Dugan have launched an Indiegogo campaign to fund a recording based on their amazing live show A Silent Night: A WWI Centenary Tribute in Song, which premiered at the Kennedy Center in 2014. The took the show on tour to the University of Chicago, the Montreal Conservatory of Music in collaboration with Société d'art vocal, Opera Saratoga, the Joye at the Aiken Festival and St. John's College.

The two have been collaborative musical partners and friends since they met as students at the Juilliard School in 2007.


The program is a collection of classical and popular art songs written mostly by composers who lived through, fought, and died in the Great War. A Silent Night organizes these songs by the major countries involved in the war, beginning with British composers Gerald Finzi, George Butterworth, and Ivor Gurney, rarely heard lieder of German composer Carl Orff, songs by the great French composers Ravel, Poulenc, and Debussy, and the iconic American composer Charles Ives.

The recording will be available for sale on all online platforms including Amazon and iTunes, as well as on CD. Perks to support the campaign start as low as $5.00. You can support the campaign HERE.


Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story
Sam Roberts-Smith
We've been following Sam Robert-Smith's career since he was a finalist in the 2009 Mathy Awards. In 2011, he broke our hearts with the news that he was now singing tenor and healed the wounds with the news that he was back in the barihunk realm. We asked him a few questions about his interesting career path in his young career.

1. What drew you to a career in opera?

For as long as I can remember I’ve always wanted to sing. However, It wasn’t until a knee injury sidelined me from playing school sport that I subsequently had the available time to start singing lessons. I went to an all boy school in Western Australia and was the only voice student in my entire year group. Classical singing wasn’t the ‘coolest’ subject to take at that age but luckily I was also a School Prefect, Swim Captain and Water-polo Captain, which definitely helped me avoid any unwanted attention. Three weeks after lessons began I came second in the school music competition singing Non piu andrai from Le Nozze di Figaro. I was so nervous but after finishing felt a huge sense of achievement. This was a way of connecting and communicating with an audience like I had never experienced before. It took me completely by surprise and made me consider the possibilities of what it would be like singing and performing as a job. The more I researched the great singers and learned about the incredible world of Opera the more I wanted to be involved. Being an Opera singer was never part of my original plan but I think opera chose me. It has been a wonderful journey so far and I wouldn’t have it any other way.

2. What's with the baritone to tenor to baritone switches? Do you prefer one over the other?

I began my voice studies at the WA Academy of Performing Arts as a baritone and have always been a baritone. The difficulty came when I was able to develop the top of my range quite easily and initially had a tenorial quality to the upper notes of my register. After graduating and finishing my post-graduate studies I moved to Sydney and became a member of the Opera Australia ensemble, as a baritone. During my first OA year I was singing smaller roles such as Morales in Carmen and Yamadori in Madama Butterfly. A meeting was arranged with the Artistic Director, who had come to observe many of my performances. He had been impressed, especially with the top of my voice and offered me a position in the OA Young Artist Program as a tenor! I had always wanted to be in the program but was unsure about switching voice types. I accepted on the condition that it was a trial, and if I were not comfortable by the end of the contract I would return to the baritone repertoire. Retrospectively I think the Artistic Director was excited at the prospect of having a tall tenor in the company rather than the longevity of my voice. I performed roles such as Don Ottavio, Tamino, and Remendado (not an easy feat after singing Verdi baritone roles up to that point) but felt I was only just managing. Going through a voice transition unassisted and in public was one of the hardest things I have experienced.  In September 2014 I left OA. While I had the ability and notes to sing the majority of tenor repertoire I still, after two years did not feel comfortable maintaining the tessitura or seem to have the mentality that many tenors do. I think I am lucky having the ability to sing both and have done so professionally, but it has been confusing for people. My voice definitely sits towards the baritone repertoire, however it seems to fall between the two. I have now settled on calling myself a Bari-tenor. I will be touring with The TEN Tenors across Australia, New Zealand and America this year but will also be singing the role of Zurga in Les pêcheurs de perles, with baritone recitals in WA and the Sydney Opera House.

Sam Roberts-Smith
3.  Tell us about your participation in The Ten Tenors.

Soon after leaving OA, I travelled to Paris for the finals of the Paris International Opera Awards, as a baritone. While there, I was in contact with The Ten Tenors who were looking to replace an exiting member for the remainder of their Ten Tenors On Broadway tour. I try to make the most of every possible opportunity presented to me and was available during that time. I sent a few audition video clips in (Nessun dorma being one!) and was successful in being offered the position. I decided to give it a go and learn as much as possible from Australia’s premier classical-crossover group. Because there are ten of us, I usually sing the lower harmonies and all of the heavier operatic numbers. Having a Bari-tenor voice has been very useful in the group, especially when we perform everything from Queen and David Bowie to Puccini and Rossini. Brand wise it’s not ideal for me being a Baritone in the TEN Tenors, but they couldn’t really change the name to The NINE Tenors and Sam! Being in the group is completely different from the main stage baritone operatic work I do, but I feel extremely lucky having the opportunity to do both.

4.  What are your thoughts about singers taking care of their bodies as well as their voices? Do you have a routine to stay in shape?

I think it is essential having a healthy mind and body in life generally. As a singer, we should take even greater care of our health. Personally I try to get to the gym or do something physical every day. Not only does it make you physically stronger but helps with stress management. The result is you feel better and look better which is becoming more and more important to casting agents. That being said, I don’t lift weights on performance or coaching days. Resistance training can tighten your muscles, limiting your ability to breath deeply and relax the muscles around the head and neck. It is a difficult balance between maintaining a fit and healthy body while keeping the muscles flexible and relaxed for singing. There are some periods were I have been required to sing every day while on tour and can’t exercise. Performing a highly physical show every night can be enough activity but I still watch what I eat and always get back to the gym when I can. My advice would be it’s never too late to start. It’s going to be difficult but the hardest part is starting. Remember, Rome wasn’t built in a day.

5. Anthony Roth Costanzo went the full monty at ENO...Any limits on what you'd do at a stage director’s request?

I guess it depends on the story itself. If it were necessary to help communicate a part of the plot or was a choice my character had to make then I would have to. I don’t think the performing arts are for the shy or faint-hearted. However, I also don’t believe in artists being asked to perform naked for the ‘shock’ factor, or simply to sell tickets. If the nudity has a meaning behind it and is actually part of the story then I would be open to it. While we all want to have an impact on the audience, I think it’s a fine line between making an audience think, and making an audience uncomfortable and upset. It obviously depends on the content and type of show but these ideas need to be thought through and discussed properly by all involved in a production or performance.



Sam Roberts-Smith
6.  Are there any roles in particular that you really hope to get to perform someday?

Now that I am getting older and my voice is changing yet again, I am really enjoying singing some of the heavier baritone repertoire. Because I have had the opportunity to experiment with the extremes of my range, and have focused years on developing my upper register, I am fortunate that some of the more difficult phrases in Verdi, Leoncavallo and Puccini come more easily to me than most. The tenor and Bari-tenor training has not gone to waste! Luckily my voice has darkened naturally without losing the facility for the top. I am currently happy singing the young baritone roles such as Silvio, Guglielmo and Billy Budd while I still can but have the secret desire to sing Rigoletto and Macbeth eventually. Two of my all time favorites! I am aware that they are both vocally huge and challenging parts but I am excited by the prospect of performing them one day.

7.  Do you prefer singing standard operatic repertory or newer pieces?

I am a fan of both the standard repertory and new works. I think for me, it is more about how an opera is written for the voice and if the music touches me in some way. There are very famous works that when performed badly can be extremely boring and unrewarding, however a brand new piece which has been written and cast well can be extraordinary. The standard repertoire has survived for many reasons and is loved by audiences around the world. Opera Australia for example performs La Boheme every year without fail. I have found that some of the newer pieces propagandized as ‘opera’ do not fit within the style and tend to be a mix of genres. This poses the question whether they are even operas at all. The world is constantly changing, as is opera. I am happy singing any work as long as it’s an enriching experience for the audience.

8.  What other passions do you have aside from music?

Aside from music, over the last few years I have become increasingly interested in politics. Politics affects everything. There is no escaping it. I have been looking at ways to make a difference when I’m not travelling around the world and have slowly been getting involved when I can. I have been so extremely lucky to travel and deal with many different cultures and situations. This has given me a unique insight into how the world works and what decisions can be made to help improve people’s lives. It has also been fascinating watching the field of US candidates running for the United States presidential election recently. A quote from Pericles “Just because you do not take an interest in politics doesn’t mean politics wont take an interest in you”. I’m not sure when or if my interest in politics will lead anywhere, but it has become a passion of mine.

9.  What do you listen to other than opera?

I listen to most music actually. The only genres I’m not a huge fan of are heavy metal rock and rap. I think that’s more because I don’t understand them more than it being bad. In New Orleans last year I went to Preservation Hall and listened to old school, no-frills jazz. It was one of the best performances I’ve seen. The musicians had obviously been playing their entire lives and seemed to of mastered their craft. It was a night I will not forget. I like to train at the gym to dance and up beat pop music. It gives me that extra energy to work harder and is part of the escapism from opera each day for an hour or so.

10. Do you plan on taking your career outside of Australia? 

Australia really is far away from the rest of the world. However, in the last few years I have had the opportunity to perform extensively throughout Australia and internationally including performances in France, The Netherlands, South Korea, China, England, Scotland, and North America. China was very interesting last year. I performed Il Conte in Le Nozze di Figaro with the Australian International Opera Company around the whole country for a month. From Wuhan to Guangzhou to Xining and many other places in between. It was a completely different culture but fascinating none the less. I have been extremely fortunate to work consistently in Australasia and abroad since graduating but would still love to expand that more into Europe eventually.

Dame Joan Sutherland and Sam Roberts-Smith
10. What was it like meeting Joan Sutherland?

I was 20 years old at the time and didn’t realize the gravitas of the situation until a few years later. I obviously knew who she was but did not truly appreciate the moment. I had won the Joan Sutherland Vocal Scholarship earlier that year and was subsequently invited to perform at her birthday celebration for her. Dame Joan Sutherland reached the pinnacle of operatic success in Australia and around the world. Not only was she an amazing artist but an inspiring ambassador for her country. Luckily a few years later I had the opportunity to meet and be conducted by Maestro Richard Bonynge in La Sonnambula at the Sydney Opera House.

11. Tell us something about yourself that has nothing to do with opera.

I am totally addicted to Coke Zero, getting through about 10 cans a day. I know most people think this is bad but at least it doesn’t have any sugar in it. My guilty food of choice would have to be Ferrero Rocher. I can’t have them around me or in the house because I find them irresistibly delicious. Not so great for someone who likes staying in shape. If you do want to get me some as an opening night gift, I wont be upset.

Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story
Marco Vassalli photographed in Sonoma, California
Marco Vassalli, is back in Germany after his stunning U.S. debut with Musica Marin where he premiered two works for string quartet and baritone by American composer Clint Borzoni, Stufen and Magere Kost. The program also included works by Richard Strauss, Tosti and Schubert.

Schubert continues to play a big part on his current schedule, as he will be singing Winterreise on March 19 in Königslutte Stadtkirsher and on March 20th in Braunschwieg in the Emmauskirche. Schubert's Romantic song cycle of longing and loneliness is the second of composer's two great song cycles based on Wilhelm Müller's poems, the earlier being Die schöne Müllerin



He then returns to performances in Roman Cykowski's Comedian Harmonists at the Theater Osnabruck, which he's frequently performed over the past few years.

In May, he'll sing another world premiere as he performs in David Fennessey's Sweat of the Sun, which is based on Werner Herzog's Conquest of the Useless. The piece was commissioned by the City of Munich for the Munich Biennale and is being co-produced with the Theater Osnabruck and the Munich Kammerorchestra.

Fennessey has been writing a series of pieces inspired by Werner Herzog's 1982 film Fitzcarraldo and the metaphor of a full-size steamboat being dragged over a hill in the swampy jungle by a rubber baron who strives to build an opera house deep in the Peruvian jungle. The first composition was an orchestral prologue fusing chords from Verdi’s Rigoletto with a 10-minute guitar glissando. The second, Caruso (Gold is the sweat of the sun) deals with the initial image, or dream which inspired Herzog to make the film in the first place. Sweat of the Sun is a based on depictions from Herzog's diary, which was published under the name "Conquest of the Useless" and looks inside of the head of a man possessed.

Tickets and additional cast information is available online.


Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story
Leonardo Capalbo, Andrew Lovato and Rodolfo Nieto (l-r)
When hunkentenor Leonardo makes his role debut on March 12th as Mario Cavaradossi in Puccini's Tosca with the Minnesota Opera, he'll be joined by two barihunks on stage. Andrew Lovato will be singing Angelotti and Rodolfo Nieto will take on Sciarrone. Tosca will be sung by the riveting Kelly Kaduce. Capalbo and Kaduce also perform together on March 17, 19, 24 and 26. The alternate cast will feature Dominick Chenes as Mario and Alexandra LoBianco as Tosca. Lovato and Nieto are featured in all performances.

A shirtless Leonardo Capalbo in La traviata from Geneva:

Lovato made his Minnesota Opera debut as the role of Sonora in La fanciulla del West and subsequently performed Young Raymond in the world premiere of The Manchurian Candidate by Kevin Puts and Mark Campbell and Le Dancaïre in Carmen.

Andrew Lovato sings the Father's Entrance Aria from Hansel und Gretel:

On March 20th, he performs "A Taste of Opera: Tosca" with the company. It's a a pre-show brunch and informal conversation with experts from the world of opera which also includes Leonardo Capalbo an Stephen Powell. On April 2, he joins resident artists from the Minnesota Opera at the Metropolitan Ballroom for a 1930’s Cabaret. You can register online.

Rodolfo Nieto sings Non più andrai from Le nozze di Figaro:
Bass-barihunk Rodolfo Nieto has been featured frequently with the Minnesota Opera in various roles including Castro in La fanciulla del West, Horatio in Hamlet, Johann in Werther, Scottish Soldier #1 in the world premiere of Silent Night, Joseph in Wuthering Heights and Colline in La bohème. Nieto will also be part of both "A Taste of Opera: Tosca"and the 1930s Cabaret.

Add to Google Reader or Homepage

2 months ago | |
Tag
| Read Full Story
51 - 60  | prev 2345678910 next
InstantEncore