Davide Damiani, Italian baritone. APA Artists' Management Alexandra Mercer - www.apaartistsmanagement.com/davidedamiani/




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Emanuele D'Aguanno
César Gutiérrez
Michael Heim
Francesco Marsiglia
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Vadim Zaplechny


Marcin Bronikowski
Davide Damiani
Anooshah Golesorkhi
Nikos Kotenidis
Dimitri Platanias


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Sebastian Holecek


Krisztián Cser
Luiz-Ottavio Faria


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Dieter Kaegi


Davide Damiani

Baritone

www.davidedamiani.com

Video (YouTube):
Oedipe - Bucharest National Opera House - March 2016
Tosca “Ed or fra noi” - St. Margarethen Festival - July 2015
Don Giovanni “Deh vieni alla finestra” - Bucharest National Opera House - April 2016
Henze - Elegy for young lovers
Verdi - Nabucco

Audio (YouTube):
Verdi - Les Vêpres siciliennes
Verdi - Macbeth
Cilea - Adriana Lecouvreur


Born in Tavullia, Pesaro Italy, Davide Damiani made his debut as a baritone in Tel Aviv in the title role of Don Giovanni, going on to become a member of the ensemble of the Wiener Staatsoper, where he appeared as Sharpless, Belcore and Conte d’Almaviva and in new productions of Enescu's Oedipe, Le Prophète and Fedora as well as singing Comte de Toulose in Verdi's Jérusalem under Zubin Mehta. Equally at home in contemporary opera as in the standard repertory, he has appeared in almost every Italian theatre and in many principal theatres on the international circuit and is highly considered as an outstanding actor/singer.

Interview between Argentine director Valentina Carrasco making her Royal Opera debut in the 2015/16 Season re: Œdipe, co-directed with Àlex Ollé originally produced for La Monnaie, Brussels.

Despre Opera

A.O.: How was the work with Damiani?

V.C.: Oh, he is amazing! He’s very good, a very intelligent guy. I would rather work with him, I would like him to do the production next year. Well, we already have the cast for Covent Garden, and I am sure the other guy is very good, but I would love him to do the production. Damiani is so smart, it’s strange when you tell someone something on a rehearsal, and he keeps it and on every rehearsal he would do it. And that’s very strange also because he’s singing a very difficult role. And, at a certain point, singers who sing this difficult role give up. They say: yes, I can hear you, but I cannot do it, because here I am singing this line, and it’s complicated, and after this I have to sing all these other things and I need to be a little bit more calm. But Davide would not spare himself. And, in fact, some singers would not spare themselves and then, when they have to do the performance, they are so tired that they cannot do it. He’s not like that. He’s also very smart and very subtle, and a very good colleague. We had a great time, really. I would really like to work with him again. He’s really the best Œdipe I worked with so far.


Roles:

ADRIANA LECOUVREUR: Michonnet


AIDA: Amonasro

AN UNSEREM FLUSS (L. Navok): Fred Bucksmann

UN BALLO IN MASCHERA: Renato

LA BOHEME: Marcello



CARMEN: Escamillo


DEATH IN VENICE: Traveller/etc

DIDON (Piccini): Iarbe

DON CARLO: Rodrigo

DON GIOVANNI: Title role






ELEGY FOR YOUNG LOVERS: Gregor Mittenhofer

L'ELISIR D'AMORE: Belcore


FALSTAFF: Ford


FEDORA: De Siriex

LA FORZA DEL DESTINO: Don Carlo di Vargas

GENOVEVA: Siegfried

GUILLAUME TELL: Title role

GESUALDO CONSIDERED AS A MURDERER (Francesconi): Gesualdo

IL GIURAMENTO (Mercadante): Manfredo

GOYESCAS: Paquiro

JERUSALEM: Comte de Toulouse


JULIE (Boesmans): Jean



KRENEK TRILOGY - DREI OPERN: Dictator

LUCIA DI LAMMERMOOR: Enrico

MACBETH: Title role

MADAMA BUTTERFLY: Sharpless



MANON LESCAUT: Lescaut


NABUCCO: Title role

LE NOZZE DI FIGARO: Conte d’Almaviva




OEDIPE: Créon

OEDIPE: Oedipe


LES OISEAUX DES PASSAGE (Vacchi): Alexander

PAGLIACCI: Tonio

PETER GRIMES: Balstrode

PRINCE IGOR: Title role

I PURITANI: Riccardo

RAKES PROGRESS: Nick Shadow




RAPE OF LUCRETIA: Prince Tarquinius





RIGOLETTO: Title role

DAS RHEINGOLD: Donner

TOSCA: Scarpia


LA TRAVIATA: Giorgio Germont



L’UOMO DAL FIORE IN BOCCA (Brewaeys): L’uomo

LES VEPRES SICILIENNES: Guy de Montfort

LA VESTALE: Publio

VOLO DI NOTTE (Dallapiccola): Il Signor Rivière

Oper Frankfurt
L'Opéra de Nice

Split Summer Festival

Oper Frankfurt

Theater Bern

Teatro Sociale di Como
Teatro Donizetti di Bergamo
Teatro Grande di Brescia

Hamburgische Staatsoper
Teatro Massimo Palermo

Opéra de Nice

Teatro Petruzzelli di Bari

Teatr Wielki Warsaw

Welsh National Opera
Deutsche Oper am Rhein
Filarmonica di Verona
Canadian Opera Company
Palm Beach Opera
Teatro Petruzzelli di Bari

Teatro delle Muse Ancona

Wiener Staatsoper
Teatro San Carlo di Napoli

Teater Basel
Teatro Verdi di Trieste

Wiener Staatsoper

St Gallen

Teatro Massimo di Palermo

Holland Festival

Wexford Festival


Teatro Lirico di Cagliari

Teatr Wielki Warsaw

Wiener Staatsoper
Jerusalem Festival

Théâtre Royal de la Monnaie
Wiener Festwochen
Aix en Provence Festival

Oper Frankfurt

Israeli Opera

Grand Théâtre de Genève

Wiener Staatsoper
Tokyo
Avenches Opéra Festival

Teatro Massimo di Palermo
Teatro La Fenice di Venezia

Split Summer Festival

Teatro Lirico di Cagliari
Wiener Staatsoper
Teatro Filarmonico di Verona
Deutsche Oper am Rhein

Wiener Staatsoper

Enescu Festival
Bucharest National Opera

Teatro Comunale di Bologna

Wexford Festival

Oper Graz

Wiener Volksoper

Palm Beach Opera

Teatro Regio di Parma
Teatro L. Pavarotti di Modena
Reggio Emilia
Teatro Bellini di Catania

Grand Théâtre de Genève
Teatro del Maggio Musicale Fiorentino
Teatro L. Pavarotti di Modena
Reggio Emilia
Teatro Regio di Parma

Theater Bern

Wiener Staatsoper

Theater Basel: St Margarethen Festival
Hong Kong Opera

Tokyo
La Fenice di Venezia
Israeli Opera

Théâtre Royal de la Monnaie

L’Opéra de Nice

Wexford Festival

Verdi Orchestra Milano


Concerts:

Beethoven SYMPHONY NO. 9; De Falla ATLANTIDA; Gounod MORS ET VITA; Haydn DIE SCHÖPFUNG; Henze NOVAE DE INFINITO LAUDES; Lukaszewski MISSA DE MARIA A MAGDALA; Mozart VESPERAE SOLENNES DE CONFESSORE; Rossini PETITE MESSE SOLENNELLE; Schoenberg A SURVIVOR FROM WARSAW (Italian version); Stravinsky LES NOCES: Turchi EXIL PER BARITONO E GRANDE ORCHESTRA; R. Vlad INVETTIVE E INVOCAZIONI PER BAR. E GRANDE ORCHESTRA.

Conductors and Opera Directors with whom he has worked include:

Paolo Arrivabeni; Bertrand de Billy; Giampaolo Bisanti; Roland Böer; Riccardo Chailly; Myung-Whun Chung; Nicholas Cleobury; Patrick Davin; Enrico Delamboye; Srboljub Dinić; Gabriele Ferro; Asher Fisch; Rafael Frühbeck de Burgos; Michael Gielen; Anton Guadagno; Marco Guidarini; Michael Güttler; Nikolaus Harnoncourt; Alexander Joel; Lothar Koenigs; Fabio Luisi; Zubin Mehta; Ingo Metzmacher; Carlo Montanaro; Riccardo Muti; John Neschling; Kazushi Ono; Daniel Oren; Renato Palumbo; Marcello Panni; David Parry; Luca Pfaff; Carlo Rizzi; Pietro Rizzo; Juraj Valčuha; Jonathan Webb.
Daniele Abbado; Calixto Bieito; Luc Bondy; Valentina Carrasco; Robert Carsen; Willy Decker;  Götz Friedrich; Christof Loy; Stefano Mazzonis di Pralafera; Francesco Micheli; Hans Neuenfels; Pier Luigi Pizzi; David Pountney; Jette Steckel; Franco Zeffirelli; Graham Vick.

Reviews:

OEDIPE – Bucharest National Opera

Bloguri – Alexandru Pătraşcu – 19th September 2015 (Enescu Festival)
De pe scenă, Davide Damiani a răspuns cu aceeaşi monedă. Personajul Œdipe trăieşte o dramă întinsă pe douăzeci de ani şi asta dictează ca primul act să fie cântat mai liric, apoi tonul să devină din ce în ce mai dramatic, baritonul fiind prezent aproape tot timpul. De aceea, după retragerea lui Ohanesian se obişnuia ca rolul să fie interpretat de doi baritoni, unul fiind „cel tânăr”, al doilea – „cel matur”. Damiani venea cu experienţa unor spectacole cu Œdipe de la Wiener Staatsoper, păstrate şi pe disc, în care jucase rolul lui Creon. A dus rolul până la capăt făcând diferenţa dintre cele două vârste ale personajului foarte vizibilă. Pentru asta a utilizat vocea de cap, iar lirismul din primul act a fost impresionant, până la punctul în care te puteai întreba cum va reuşi să ducă rolul mai departe. Maturitatea lui Œdipe a fost bine jucată, dar mai ales cântată, vocea lui Damiani întunecându-se ca un cărbune, estompând catifeaua grea de până atunci, pentru ca în ultima parte, cea a tragediei, să devină cu adevărat dramatică, aproape răguşită. La un moment dat am crezut chiar că obosise, dar declamaţiile finale, foarte puternice, mi-au demonstrat că nu era aşa. Un Œdipe uman şi tragic, cu adevărat, a înlocuit vechiul tipar hieratic şi exagerat cu care am fost obişnuiţi până acum.

Antena3.ro – 23rd November 2015 (Bucharest National Opera)
Rolul titular i-a revenit baritonului Davide Damiani, care a evidențiat printr-o interpretare impecabilă atât măreția tragică a personajului, cât și latura sa umană.

Despre Opera – 23rd November 2015
Davide Damiani returned as Œdipe, after having made an excellent impression during Enescu Festival. This time, he sang the part differently, in a virile manner from the beginning to the end, and he managed to seize not only the tragical dimension of the character, but also his human sides. A solid voice of classical baritone, that avoided Verdian accents, and gave subtle and balanced colours to the dark parts (almost an antithesis of David Ohanesian), by almost always choosing light instead of shadows.

* * *

TOSCA - St.Margarethen: Oper im Steinbruch

Salzburger Nachrichten - 9th July 2015
während sich Davide Damiani solide durch die Bösewichtrolle des Scarpia grimassiert.

OnlineMERKER - Peter Skorepa - Premiere 8.Juli 2015
Und als der Schurke, der mit aller möglichen Dämonie und Verstellung, aber auch mit sanften Tönen sein Ziel bei Tosca zu erreichen versucht, den gibt Davide Damiano mit volltönendem Bariton. In Wien sammelte er schon vor zwanzig Jahren Erfahrung in dieser Oper als Ensemblemitglied der Staatsoper. Damals gab er neben vielen anderen Kleinpartien den Angelotti.

OnlineMERKER - Peter Dusek – 8th July 2015
Sein „Gegenspieler“ ist Davide Damiani – machtlüstern, viril und doch erotisch. Kein Monstrum sondern ein im Grunde einsamer Mensch. Mit einer idealen Verdi-Stimme bewältigt er die anspruchsvolle Partie, die man so verschieden porträtieren kann.

* * *

ADRIANA LECOUVREUR - Oper Frankfurt

Die Deutsche Bühne, Neue Musikzeitung, Wolf-Dieter Peter, März 2012
Davide Damiani beeindruckte mit herrlich warmem Bariton als Adrianas väterlich verliebter Mentor Michonnet.

Gießener Allgemeine Zeitung, Olga Lappo-Danilewski, 6.3.12
Davide Damiani als Michonnet, hoffnungsloser Verehrer Adrianas, bestach mit Spielpräsenz und warmem Bariton.”

Der neue Merker, Friedeon Rosén, März 2012
Neu für diese Produktion ist in Frankfurt Davide Damiani mit lyrisch elegischen Bariton für den Inspizienten Michonnet.

Online Musik Magazin, Thomas Molke, März 2012
In jeder Hinsicht überzeugend gestaltet Davide Damiani mit kräftigem Bariton Michonnet, der zwar unglücklich in Adriana verliebt, aber dennoch bereit ist, auf sie zu verzichten, da er schweren Herzens akzeptiert, dass sie seine Gefühle nicht erwidert.

Der Opernfreund-Frankfurt, Michael Demel, 23.3.12
Eine tadellose Leistung lieferte auch Davide Damiani als Michonnet mit seinem gut geführten warmen Bariton

Kulturfreak.de, Markus Gründig, März 2012
Überzeugend auch der hoffnungslos verliebte Michonnet des Davide Damiani.

Opernnetz.de, Eckhard Britisch, März 2012
..anrührend Davide Damiani den vergeblich verliebten Theaterinspizienten Michonnet.

Maintal Tagesanzeiger, Lars-Erik Gerth, 10.3.12
So erfreute Davide Damiani als Inspizient Michonnet, der Adriana vergöttert, dessen Liebe aber nicht erwidert wird, durch geschmackvolle Phrasierung und geschmeidiges Timbre.

Main Echo Aschaffenburg, Bettina Kneller, 9.3.12
Der italienische Bariton Davide Damiani verkörpert den väterlichen Freund mit viel Gefühl, das aber nie in Kitsch umschlägt.

Operanderland.nl, Mark Duijnstee, März 2012
Davide Damiani heeft een mooie kavalierbariton voor de vaderlijk verliefde Michonnet.


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