Dimitri Platanias, Greek baritone. APA Artists' Management Alexandra Mercer - www.apaartistsmanagement.com/dimitriplatanias/

Lee Bisset
Elena Kelessidi
Maria Nazarova
Cristina Piperno
Julia Sitkovetsky
Evgeniya Sotnikova
Anna Stylianaki
Elena Zelenskaya

Na'ama Goldman
Irini Karaianni
Larisa Kostyuk
Rossana Rinaldi
Victoria Yarovaya

Salvatore Cordella
Piero Giuliacci
César Gutiérrez
Michael Heim
Francesco Marsiglia
Vadim Zaplechny

Marcin Bronikowski
Yasuo Horiuchi
Dimitri Platanias

Johannes von Duisburg
Sebastian Holecek

Gary Jankowski

Manlio Benzi
Thomas Sanderling

Dieter Kaegi

Dimitri Platanias


Video (YouTube):
Tosca (Te Deum)
Tosca (Act II)
Aida (Nile Scene)
Simon Boccanegra (Paolo)
I Pagliacci (Tonio)

Audio (Mp3):
Un Ballo in Maschera - Eri tu che macchiavi quell'anima
Don Carlo - Io morrò ma lieto in core
Otello - Vanne! La tua meta già vedo... Credo in un Dio crudel
Rigoletto - Larà Larà
Rigoletto - Cortigiani vil razza dannata
Rigoletto - Finale
Andrea Chenier - Nemico della Patria
Nabucco - Dio di Giuda

Rigoletto - debut at ROH Covent Garden.
Two figures are dominant, and they are the two who matter most: John Eliot Gardiner, conducting Rigoletto for the first time, and the stunning Greek baritone Dimitri Platanias, making his Covent Garden debut. As for Platanias, I have rarely heard the title role sung with such gloriously sustained tone and line, or such thrilling power. Visually he's not the most grotesque of Rigolettos; perhaps he feels that his costume, a proto-Hell's Angel black-leather get-up, is weird enough. But he projects bags of character with his voice alone - a voice that I would like to hear much more.
Richard Morrison - The Times - 1st April 2012

Born in Greece, he is now recognised as one of the foremost Verdi Baritones of the younger generation. Winning the Alexandra Trianti Scholarship enabled him to study in Italy under Masako Tanaka Protti and at the showcase concert for the winners of this bequest, Rodney Milnes said in Opera Magazine:
The most impressive singer was the baritone Dimitris Platanias, who on this showing could sing Rigoletto anywhere in the world: beautifully warm, heroic tone, a dynamic range from forte to a pianissimo that lost nothing in colour or substance, musicianship and instinctive feeling for text - a name to watch out for in the current dearth of Verdi baritones.

He went on to make his debut at Greek National Opera and his first appearance in Italy as Gerard ANDREA CHENIER. His debut at La Fenice di Venezia was as RIGOLETTO, a role that he has since made his own and it was as RIGOLETTO that he made his highly acclaimed debut at the Royal Opera Covent Garden. A most gifted linguist, he is noted not just for the splendour, rich timbre and beauty of his voice, but also for his insightful interpretations of the characters he portrays. His appearance as RIGOLETTO in concert with the London Symphony Orchestra under Gianandrea Noseda was greeted with great enthusiasm, leading Hugh Canning in The Sunday Times Culture – 22 September 2013 to write: Platanias, meanwhile must now be the great white hope among younger Verdi baritones.

Outstanding recent engagements include his debut at the Bayerische Staatsoper as SIMON BOCCANEGRA, Iago OTELLO at Oper Frankfurt, Tonio I PAGLIACCI at the Osterfestspiele Salzburg to be released on DVD and his debut at Palau de les Arts Reina Sofia singing NABUCCO.

Roles performed:

AIDA: Amonasro

ALCESTE: High Priest



LA BOHEME: Marcello


DON CARLOS: Rodrigo, Marquis of Posa


FAUST: Valentin




NABUCCO: Title role





RIGOLETTO: Title role




TOSCA: Scarpia

LA TRAVIATA: Germont Père

IL TROVATORE: Conte di Luna

I VESPRI SICILIANI: Guido di Monteforte
Teatro Regio Torino
Odeon of Herodes Atticus
Thessaloniki Opera
Teatro dell'Opera Giocosa di Savona
Teatro Goldoni di Livorno
Bregenzer Festspiele

Megaron Athens

Teatro Sociale di Rovigo
Il Politeama di Catanzaro
Teatro Sociale di Trento
Teatro Goldoni di Livorno

Greek National Opera

Greek National Opera

Odeon of Herodes Atticus
Greek National Opera

Teatro Nacional de São Carlos

Greek National Opera

Megaron Athens

Greek National Opera

Greek National Opera

Odeon of Herodes Atticus

Palau de les Arts Reina Sofia Valencia
Staatstheater Stuttgart
Megaron Athens
Odeon of Herodes Atticus
Teatro Castello di Vigoleno
Teatro dell'Opera Giocosa di Savona

Greek National Opera

Oper Frankfurt
Teatro la Fenice di Venezia
Odeon of Herodes Atticus

Osterfestspiele Salzburg
Odeon of Herodes Atticus
Greek National Opera

Greek National Opera/Megaron

ROH Covent Garden
Théâtre Royal de la Monnaie
London Symphony Orchestra (Barbican Centre)
Teatro La Fenice di Venezia
Teatro Massimo Palermo
Casa da Música, Porto
Greek National Opera
Concertgebouw Amsterdam

Teatro G. Verdi di Trieste

Bayerische Staatsoper
Royal Opera Muscat

ROH Covent Garden
Megaron Athens
Teatro Verdi Salerno

Deutsche Oper Berlin
Oper Frankfurt
Megaron Athens
Opera Ireland
Odeon of Herodes Atticus

Teatro La Fenice di Venezia
Greek National Opera

Odeon of Herodes Atticus

GNO Megaron Athens

Concerts include:

Joseph L'ENFANCE DU CHRIST (Megaron); Mephistopheles, Boser Geist, Pater Seraphicus SZENEN AUS GOETHES FAUST (Megaron); CARMINA BURANA (Megaron, Thessaloniki); MOZART - CORONATION MASS  (Corfu). Gunther GÖTTERDÄMMERUNG (Megaron – Concert form); BRAHMS -EIN DEUTSCHES REQUIEM (Megaron); FAURÉ - REQUIEM (Greek National Opera); MENDELSSOHN - DIE ERSTE WALPURGISNACHT (Odeon of Herodes Atticus); WIGMORE HALL RECITAL in the Rosenblatt Recitals Series.

Conductors and Directors with whom he has worked include:

Martin Andre; Maurizio Benini; Bertrand de Billy; Myung Wun Chung; Giuseppe Finzi; James Gaffigan; John Eliot Gardiner; Leo Hussain; Lukas Karytinos; Nicola Luisotti; Gianluca Martinenghi; Diego Matheuz; Myron Michailidis; Carlo Montanaro; Pier Giorgio Morandi; Gianandrea Noseda; Daniel Oren; Antonio Pappano; Carlo Rizzi; Daniele Rustioni; Giovanni di Stefano; Christian Thielemann.
Daniele Abbado; Robert Carsen; Johannes Erath; Rudolf Frey; Yannis Kokkos; Stephen Langridge; David McVicar; Jakob Peters-Messer; Elija Moshinsky; Nikos Petropoulos; Philip Stölzl; Graham Vick.

Future Plans:

Title role RIGOLETTO: Staatstheater Stuttgart; Germont LA TRAVIATA: Teatro La Fenice di Venezia, Glyndebourne Festival; Royal Opera Covent Garden; Bayerische Staatsoper; Atticus; Stankar STIFFELIO: Teatro La Fenice di Venezia, Oper Frankfurt; title role NABUCCO: Royal Opera Covent Garden, Bayerische Staatsoper; Alfio CAVALLERIA RUSTICANA: Royal Opera, Covent Garden, Théâtre Royal de la Monnaie, Tonio I PAGLIACCI: Royal Opera Covent Garden; Théâtre Royal de la Monnaie; Barnaba LA GIOCONDA: Théâtre Royal de la Monnaie; Gerard ANDREA CHENIER: Teatro del Maggio Musicale Fiorentino.


RIGOLETTO - ROH Covent Garden, March/April 2012

MusicalCriticism.com - Michael Migliore - 4th April 2012
Baritone Dimitri Platanias, making his house début as Rigoletto, received a rare - and well-deserved - standing ovation for his performance. He sings with unparalleled passion and a sense of style that is at the least captivating and at its best hauntingly sublime.

Music OMH - Opera Reviews - Lottie Greenhow - 30th March 2012
Dimitri Platanias commanded the stage as a wholly believable Rigoletto. A robust and mellifluous baritone, with a startlingly large range, he conveyed all the pathos that the role requires whilst injecting all Rigoletto's coarse humour into his jester scenes. Throwing himself completely into the role, he squeezed every last drop of emotion from Gilda's death scene, and appeared to take his bows looking somewhat shaken (receiving a well-deserved standing ovation in the process).

The Spectator - Michael Tanner - 14th April 2012
Dimitri Platanias, in the title role, has a magnificent voice, and used it with sensitivity and passion.

Mark Ronan's Theatre Reviews - 2012
..with Dimitri Platanias an outstanding Rigoletto. His lovely tone in Act I elicited my sympathy, and in Act II his heartfelt la mia figlia, followed by his condemnation of the courtiers came over with huge power.

Sunday Times - Culture - Hugh Canning 8th - April 2012
Platanias scored with the audience for his generous, easy legato and commitment

Seen and Heard International - Jim Pritchard -March 31, 2012
a very powerful performance and a significant house debut

The Arts Desk - by Alexandra Coghlan -Saturday, 31 March 2012
Beautifully even through the range and strong at the extremes, his is a quality baritone

Bachtrack - David Karlin -30th March 2012
Dimitri Platanias gave us a wonderfully warm and rounded rendition of the title role, at his best in the tender moments between father and daughter where his richness of voice is very appealing

The Sunday Telegraph - John Allison -8th April 2012
Dimitri Platanias projects a powerful baritone as the tormented Rigoletto, carrying off the scabious, cockroach-like characterisation well

The Guardian - George Hall - 10th April 2012
Dimitri Platanias offers an awe-inspiring baritone in the title role

Time Out - Jonathan Lennie - 5th April 2012
Platanias steers a steady line between pathos and bathos, showing unwavering stamina in a superbly controlled vocal performance

Seen and Heard International - Jack Buckley - 18th April 2012 (via satellite)
…a remarkably impressive and chilling performance from a thrilling singer.

The Telegraph - Rupert Christiansen - 3rd April 2012
A big bruiser of a baritone with a terrific instrument, he sang with a blazing power that earned him an enthusiastic ovation

Pamela Hickman's concert critique blog 22nd April 2012
The role of the hunchback court buffoon Rigoletto, is played by Greek baritone Dimitri Platanias, making his Covent Garden debut. His huge voice and all-encompassing stage presence are matched by his intensity, total involvement, vitality and facial expression. At each stage of the plot, one reads the emotion of the moment in his eyes. Those eyes burst into flame as he turns on the courtiers, screaming at them, calling them "you evil damned race", with the orchestra reflecting his gestures with incredible energy and violence. And then he is so different - so tender - when enquiring about his daughter. The court jester turns out to have an enormously noble and dignified side to him. Platanias' performance was moving and real.

* * *

SIMON BOCCANEGRA - Royal Opera House, Muscat Oman - December 2012

The Times of Oman - Sarah Macdonald - December 2012
Platanias's strong, powerful voice was a beautiful contrast to his subtle, yet effective performance as Simon. His emotions seemed true and raw, especially in the scene when he discovers his daughter.

* * *

SIMON BOCCANEGRA - ROH Covent Garden, June/July2013 (role Paolo Albiani)

Opera Britannia - Sebastian Petit - 28 June 2013
Finally we were lucky to have set against Hampson's Doge Dimitri Platanias' pit-bull of a Paolo. Platanias revelled in the dramatic opportunities and sang the role in full-bronzed tones befitting a full Verdi baritone. His short aria at the opening of Act 2 was a model of concentrated drama.

Bachtrack - David Karlin - 28th June 2013
As his eventual murderer Paolo, Dimitri Platanias sang almost as powerfully and comprehensively outacted him.

Express - William Hartson - 5th July 2013
With hugely impressive performances from Ferruccio Furlanetto, as his sworn enemy Fiesco, Dimitri Platanias as the scheming courtier Paolo, and…. this adds up to a quartet of leading male roles that drive the production forward, both musically and dramatically, to magnificent effect.

What'sOnStage - Mark Valencia - 3rd Julay 2013
….was magnetic as the turncoat Paolo, a man eaten away by jealousy and resentment. Platanias floated some heavenly notes above the water-borne strings that open the opera before descending fiercely, two hours later, into a hell of the character's own making. Startling stuff.

The Times - Hilary Finch - 2nd July 2013
Darker still, in the very abysm of moral chaos, is the inky baritone of Dimitri Platanias , making his role debut as an all but demonic Paolo, with resentment and self-cursing coiled in his voice.

The Spectator - Michael Tanner - 13th July 2013
Dimitri Platanias makes a really hateful Paolo, one only wishes the opposition to him were stronger.

Ms OperaGeek - 14th July 2013
Dimitri Platanias was a marvelous Paolo, a role that is often undercast at the Met even with its importance in the plot. I particularly enjoyed his scene where he debates over how to kill Boccanegra, with poison or with a knife. He was dramatic, and he was far from undercast in his role as Paolo.

MusicalCriticism.com - Michael Migliore - 19th July 2013
Dimitri Platanias as Paolo, was every bit as good as when I saw him in Rigoletto last year. His strong yet supple vocal lines are imbued deeply with thrilling color and nuances, which he rounds off with a syrupy sound.

TheArtsDesk.com - Ismene Brown - 28th June 2013
but I kept thinking that Platanias, a squat, powerful Paolo with more intensity to his voice, might make out a more arresting Boccanegra.

* * *

RIGOLETTO - Barbican, London Symphony Orchestra, 15th September 2013

Opera Magazine - Yehuda Shapiro – November 2013
Experienced from the centre stalls, the voices rang out thrillingly, notably that of Dimitri Platanias, Covent Garden’s Rigoletto in spring 2012.  His is not a huge, rolling sound – more compact and focused, and of almost tenorial clarity towards the top.  With his dignified brooding presence and scrupulous musicianship, including a delicate voix mixte, Platanias caught the jester’s tragedy without emoting profusely or pushing his tone out of shape.  His lyrical singing could perhaps be more caressing, but this was a real Italianate baritone, in consummate command of his role.

Seen and Heard International by Jim Pritchard - 16th September 2013
The Greek baritone Dimitri Platanias looks like a huge pit-bull but sang here like a Verdi ‘god’. His Covent Garden debut was as Rigoletto and this was broadcast to cinemas worldwide. As in that David McVicar production, there his Rigoletto is clearly a ‘victim’ from the opera’s beginning to its end and in his outbursts he rails against the injustices he feels he is suffering from, as well as, the curse of Count Monterone on him and the Duke because of the latter’s violation of his daughter. His acting as before was emotionally engaging and compelling throughout and despite some enthusiastic applause interrupting his performance from time to time he never once stepped out of character, always remaining admirably focussed on the ensuing drama. His Act II aria ‘Cortigiani, vil razza dannata’ and duet ‘Sì! Vendetta, tremenda vendetta!’ were obvious highlights and even though some might quibble that Platanias lacks a true Verdian legato, his is such a very powerful – and instinctive – performance that this does not matter whatsoever.

www.classicalsource.com - Reviewed by Peter Reed
The Greek baritone Dimitri Platanias, who played the title role in the Royal Opera’s revival in 2012, has hugely extended his emotional range as the jester. Even without accoutrements of costume and hunchback, you could feel him battling with the weight of Monterone’s curse, his uncompromising loathing of the Duke and his court, his disarming tenderness towards his daughter Gilda, and the subtle complexity of his anxiety over her abduction (which was a stand-out moment, with plenty of stiff competition, in this performance). His control of phrase and colour was a perfect fit for the music, and with Noseda at the helm, Platanias’s portrayal of Rigoletto’s self-disgust and inner conflict was astoundingly three-dimensional – the tragedy and irony of his ‘Look at me now, world’ in Act Three, when he thinks he’s clinched the Duke’s death, was unforgettable.

The Guardian – Tim Ashley - 17th September 2013
Noseda's approach was very much matched by that of his Rigoletto, dark-voiced Greek baritone Dimitri Platanias, who persuasively captured the seething rage and potential violence beneath the jester's obsequious servility

Opera Brittania by Mark Pulinger – Monday 16th September 2013
Of the three principal singers, only Dimitri Platanias brought any insight into his role. I missed his Rigoletto at Covent Garden in 2012, but was impressed enough with his Paolo this summer there in Simon Boccanegra to make me wish he was singing the doge himself. His baritone is big and bold, with a rich, velvety warmth to it, enabling him to ride the orchestra in great long phrases. He uses his instrument imaginatively. Rigoletto’s great monologue “Pari siamo” featured a decent range of dynamic response and expression and he fulminated convincingly in “Cortigiani”. Big moments weren’t fudged – the cries of “Ah, la maledizione!” rang out, as did the interpolated A flat at the end of “Sì, vendetta” duet.

* * *

TOSCA - Oper Frankfurt - December 2013

Online Merker - Gerhard Hoffmann – 11th December 2013
Die absolute vokale Überraschung des Abends bot allerdings Dimitri Platanias, sein herrlich timbrierter Bariton strömte weich dahin, verlor selbst in den expressiven Passagen nicht den nuancierten Farbreichtum. Die Prachtstimme erschien für den fiesen Scarpia fast zu schön, doch verstand es der griechische Sänger in trefflicher Mimik diese Charakterzüge umzusetzen.

* * *

RIGOLETTO - Théâtre Royal de la Monnaie - May 2014

BRF - Hans Reul -9th May 2014
Aber vor allem ist Dimitri Platania in der Titelrolle des Rigoletto hervorzuheben. Er singt nicht, er spielt nicht den Rigoletto, er ist förmlich Rigoletto. Nur selten erlebt man es so intensiv, dass ein Sänger sich mit einer Figur identifiziert. Selbst noch beim minutenlangen Schlussapplaus hat man den Eindruck, Platania steckt immer noch in diesem Rigoletto.

Forumopera.com - 9th May 2014 Claude Jottrand
La distribution est largement dominée par le Rigoletto du baryton grec Dimitri Platanias. Outre qu'il arbore magnifiquement le physique de l'emploi (la bosse en moins), il met dans son interprétation une telle force dramatique, une telle intensité qu'à tout moment il convainc. La voix est charnue, corsée, puissante, colorée, irréprochable de vérité.

Le Soir- Michèle Friche - 4 Juin 2014
Quant au rôle de Rigoletto, père de Gilda, il nous a permis de découvrir un baryton grec formidable, un vrai verdien, Dimitri Platanias: timbre sombre, puissance dans l'aigu, un rien parfois déstabilisé dans la demi-teinte grave, une stature impressionnante, mais sobre et émouvante, une montagne de douleur cachée, de violence aussi, inquiétant sous le masque blanc et les lèvres rouges du clown.

* * *

RIGOLETTO - ROH Covent Garden - (relayed to Trafalgar Square) September 2014

The Spectator - Michael Tanner - 4th October 2014
I can't imagine ...whom I have seen in the title role, ever being as persuasive as Dimitri Platanias, who may be the best Rigoletto I have ever seen. More bug-like than any of his predecessors in this production, he has a sumptuous but grainy true bass (sic) and can modulate from ranting, shaking rage to abject pleading with peerless continuity

* * *

SIMON BOCCANEGRA - Bayerische Staatsoper - October 2014 (Title role)

Munich and Co - Luc Roger - 12th October 2014
En Boccanegra il émeut avec sa voix riche, profonde, puissante et sombre, et son beau jeu d'acteur qui sait rendre les transformations de Simon Boccanegra: le pirate qu'il fait ressembler à un parrain de la pègre se transmue en un doge tourmenté certes mais qui sait porter avec force la dignité de sa fonction. Platanias dispose aussi d'une expressivité émotionnelle rare pour évoquer les déchirements et les doutes intérieurs de Simon Boccanegra.

Bachtrack - Benedikt Zacher - 11th October 2014
Dimitri Platanias schließlich gab den Simon Boccanegra sehr souverän und mit großem Einfühlvermögen

* * *

OTELLO - Oper Frankfurt - November/December 2014

Operatraveller - 16th November 2014
Platanias has an exceptional instrument. The voice is rock solid and even throughout the range. The tessitura holds no terrors for him and he tears up the stage as Jago. The Credo was sung with a genuine rare strength and the voice is big with real amplitude.

* * *

NABUCCO - Staatstheater Stuttgart - January/February 2015

Online Merker - Udo Klebes - 21st January 2015
Neben ihrem zu Herzen gehenden, von Reue geprägten Sterbegesang imponierte sie besonders durch kluges Steuern ihrer Duett-Konfrontation mit Nabucco, in dem ihre Unerbittlichkeit und ihr Triumph über den vom Blitz geschlagenen König von Dimitri Platanias zusätzlich angestachelt ist. Der international gefragte Grieche gehört inzwischen ohne Zweifel zu den erstklassigen Vertretern eines mit schönem Legato, natürlicher Phrasierung, warmem Timbre und einer Top-Höhe ausgestatteten Verdi-Interpreten. So ausgeglichen er seinen Bariton präsentiert, so spielerisch wandelbar zeigt er sich in den wechselnden Höhen und Tiefen des babylonischen Herrschers.

* * *

RIGOLETTO - Concertgebouw Amsterdam - NTR Zaterdagmatinee 14th March 2015

Bachtrack Nicolas Nguyen - 16 March 2015
In the title role Dimitri Platanias had an imposing stage presence, matched by a big, rich and beefy baritone. His is a full-blooded Rigoletto, as powerful and unflagging in his cynical and venomous attacks of Monterone and the courtiers as in his desire for revenge from the duke. He was somewhat less convincing as the broken and tortured soul, and the “Ebben, piango” of the second part of his big Act II aria did not have quite the same impact as his furious “Cortigiani, vil razza dannata”. Yet, in his duets with Gilda, his surly jester was capable of infinite fatherly tenderness.

Place de l'Opera - Laura Roling - Amsterdam 16th March 2015
Tot zover het acteertechnische aspect. Het muzikale aspect blijft van het voornaamste belang bij een concertante uitvoering en het niveau lag erg hoog. De Rigoletto van de Griekse bariton Dimitri Platanias klonk als een échte Verdi-bariton: een prachtige, warme Italiaanse klank, met veel dynamiek. Hij bulderde luid aan het hof en zong teder en kwetsbaar tijdens de intieme momenten.

* * *

PAGLIACCI (Tonio) - Osterfestspiele Salzburg 2015

The Telegraph – John Allison - 11th April 2015
In Leoncavallo’s opera, Dimitri Platanias brings a smooth baritone and keen dramatic intelligence to Tonio

Kurier - Peter Jarolin - 29th March 2015
Aber auch andere brillieren stimmlich wir darstellerisch: Ambrogio Maestri etwa als Mafia-Pate Alfio in der expressionistisch, beinahe nur in Schwarz-Weiß gehaltenen "Cavalleria" oder Dimitri Platanias in der bunten Zirkus-Atmosphäre des "Pagliacci" als feister Intrigant Tonio.

Merkur-online.de - Markus Thiel - 11th April 2015
Ambrogio Maestri (Alfio) und Dimitri Platanias (Tonio) beweisen, dass man für die schwer zu castenden italienischen Baritonpartien gleich zwei herausragende Stimmen finden kann.

Opernwelt - Markus Thiel - Mai 2015
...und Dimitri Platanias (Tonio) machen ihre Sache Fabelhaft.

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APA Artists' Management / Alexandra Mercer
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