Luciano Botelho, Tenor. APA Artists' Management Alexandra Mercer - www.apaartistsmanagement.com/luciano Botelho/




Maria Bulgakova
Simge Büyükedes
Scilla Cristiano
Elena Kelessidi
Hyuna Ko
Dimitra Kotidou
Julie Martin du Theil
Cristiana Oliveira
Julia Sitkovetsky
Ekaterina Sadovnikova
Evgeniya Sotnikova
Anna Stylianaki
Letitia Vitelaru
Elena Zelenskaya


Maria Gulik
Asude Karayavuz
Larisa Kostyuk
Claudia Marchi
Anna Werle
Victoria Yarovaya


Arnold Bezuyen
Luciano Botelho
Salvatore Cordella
Emanuele D'Aguanno
Luis Gomes
César Gutiérrez
Michael Heim
Francesco Marsiglia
Dimitris Paksoglou
Peter Svensson
Vadim Zaplechny


Marcin Bronikowski
Davide Damiani
Michel de Souza
Anooshah Golesorkhi
Nikos Kotenidis
Dimitri Platanias
Dionysios Sourbis


Johannes von Duisburg


Tiziano Bracci
Luiz-Ottavio Faria


Manlio Benzi
Emmanuel Plasson
Thomas Sanderling


Dieter Kaegi


Luciano Botelho

Tenor

www.lucianobotelho.com

Video (YouTube):
Die Zauberflöte
La Favorite
Rossini Stabat Mater
Ohimè ch’io cado

Audio (Mp3):
Rossini - La cenerentola - Si ritrovarla io giuro
Rossini - Il turco in Itala - Intesi, ah! tutto intesi
Donizetti - Elisir d’amore - Una furtiva lagrima
Mozart - Idomeneo (Idamante) - Ch’io mi scordi di te


Brazilian born, he graduated from the University of Rio de Janeiro, completed a Master degree at London’s Guildhall School of Music and Drama and went on for postgraduate studies at the Welsh International Academy of Voice.  Prize-winner of several competitions, he was a finalist in both the BBC Cardiff Singer of the World and the Francisco Viñas Competition.  His debut was as Tamino Die Zauberflöte at the Amazonas Opera Festival and he has gone on to appear in theatres throughout Europe, South America and Australia.

Roles:

ANNA BOLENA: Percy

IL BARBIERE DI SIVIGLIA: (Rossini) Conte
Almaviva




IL BARBIERE DI SIVIGLIA (Paisiello): Conte
Almaviva

LA BELLA DORMENTE NEL BOSCO: Prince

IL CAPPELLO DI PAGLIA DI FIRENZE: Fadinard

LA CENERENTOLA: Ramiro





LE COMTE ORY: Comte Ory


COSI FAN TUTTE: Ferrando

LA DONNA DEL LAGO: Giacomo


DON GIOVANNI: Don Ottavio

DON PASQUALE: Ernesto

L’ELISIR D’AMORE: Nemorino



FALSTAFF: Fenton




LA FILLE DU REGIMENT: Tonio

GIANNI SCHICCHI: Rinuccio

GUILLAUME TELL: Ruodi


IDOMENEO, RE DI CRETA: Idamante

LINDA DI CHAMOUNIX: Intendant

LIQUID VOICES (Oliveira): Pescador

LUCIA DI LAMMERMOOR: Edgardo

LUCREZIA BORGIA: Gennaro

MARIA DI ROHAN: Riccardo

MARIA STUARDA; Leicester

ORFEO: Title role


ORPHEE ET EURYDICE: Orphée

PIA DE TOLOMEI: Ghino

LES PECHEURS DE PERLES: Nadir

RIGOLETTO: Duca


LA SCALA DI SETA: Dorvil

LA SONNAMBULA: Elvino

IL TURCO IN ITALIA: Narciso





DIE ZAUBERFLÖTE: Tamino




Oper der Stadt Köln

ROH Covent Garden
New National Theatre Tokyo
Cia. Brasileira de Opera
Teatro Amazonas


Theatro Säo Pedro


Casa das Artes de Famalicão

Theatro Municipal de São Paulo

Glyndebourne Touring Opera
Malmö Opera
Opéra National de Lorraine
National Theatre Belgrade
Teatro Amazonas

Grand Théâtre de Genève
Angers Nantes Opéra

Verbier Academy

Theater An Der Wien
Grand Théâtre de Genève

Teatro Amazonas

Theatro Municipal Do Rio de Janeiro

English National Opera
Opéra de Dijon
Theatro Municipal Do Rio de Janeiro

Theatro Säo Pedro
L’Opéra de Rennes
Angers Nantes Opéra
Palacio das Artes, Belo Horizonte

Opera Holland Park

Guildhall of Music and Drama

Hamburgische Staatsoper
Welsh National Opera

Göteborgs Operan

ROH Covent Garden

SESC São Paulo

Theatro Municipal Do Rio de Janeiro

Teatr Wielki

Caramoor Festival

Nationaltheater Mannheim

Theatro Municipal de São Paulo
Theatro Municipal Do Rio de Janeiro

Staatstheater Stuttgart

English Touring Opera

Theatro Municipal Do Rio de Janeiro

Opera Theatre Company
Opéra de Rennes

Scottish Opera

Oper Frankfurt

Garsington Opera
Teatro Municipal de Santiago
Opéra de Dijon
Theatro Municipal Do Rio de Janeiro
Opera Australia

Theatro Municipal de São Paulo
Theatro Municipal Do Rio de Janeiro
Theatro da Paz
Teatro Amazonas

Concert Repertory:

Bach MAGNIFICAT; Britten: LES ILLUMINATIONS, SERENATE FOR TENOR HORN AND STRINGS; Händel MESSIAH; Haydn DIE SCHÖPFUNG; Mozart REQUIEM, GREAT MASS IN C MINOR; Carl Orff: CARMINA BURANA; Rossini STABAT MATER, PETIT MESSE SOLENNELLE; Puccini: MESSA DI GLORIA

Conductors with whom he has collaborated include:

Antonello Allemandi,; Marin Alsop; Paolo Arrivabeni; Tito Ceccherini; Will Crutchfield; Lawrence Cummings; Mark Elder; Gabriele Ferro; Leo Hussain; Nicholas Kok; Alessandro de Marchi; Roberto Minczuk, David Parry; Carlo Rizzi

Stage Directors with whom he has collaborated include:

Martin Duncan; André Heller-Lopes; Moshe Leiser/Patrice Caurier; Christof Loy; David Pountney; Emilio Sagi; Alessandro Talevi; Graham Vick, Jossi Vieler/Sergio Morabito

DVD and CD Recordings:

LA SONNAMBULA - DVD Stuttgart Oper
SOUNDS OF BRAZIL AND ARGENTINA - Recital CD
LiNDA DI CHAMOUNIX - CD for Opera Rara


Reviews:

IL TURCO IN ITALIA

Bachtrack - David Karlin – 27th June 2017
Luciano Botelho’s clear, bright tenor impressed in the role of Narciso

Daily Mail - David Mellor – 1st July 2017
The promising Italian tenor Luciano Botelho is a definite asset as Narciso.

Seenandheard-International - Curtis Rogers – 29th June 2017
Luciano Botelho's singing the tenor part of Narciso solidly

The stage - Edward Bhesania - 27th July 2017
There’s bright, Italianate singing too from Luciano Botelho’s Narciso

Opera Today - Robert Hugil - 27th June 2017
Luciano Botelho bravely essayed the challenging role of Narciso with its high-wire acrobatics (it was written for Giovanni David who created Rodrigo in Otello and whose range went, easily, up to high F). Botelho has an attractive lyric tenor voice with a delightful stage presence...

El mostrador - 2015
But, to bump into Botelho was a discovery: a valuable dramatic interpreter, and a name to graduate as an expert in the future of Rossinian productions. In the high demanding arena, he has all requirements that allow him to approach a tenor role using the most variable and distinct registers. The voice is sweet, powerful, beautiful, clear, and very soft with the purpose of reaching top notes that require a notorious and great precision.

* * *

PIA DE TOLOMEI

Limelight Magazin - Clive Paget – 23rd January 2014
The other overseas visitor in the cast is the Brazilian Luciano Botelho as Geronio’s duplicitous ‘friend’ Narciso. He throws himself into Phillips’s comic milleu with great abandon and, if the voice is not a large one, he makes up for it with grace and agility. Given that the role is eminently surplus to plot requirements, it’s a credit to him that he brings the house down with his second act aria in which, confined to a bathing hut, he drops his pants, deodorises and changes into an Elvis suit.

Opera Today - 2016 - Donizetti - Pia de Tolomei
Tenor Luciano Botelho demonstrates strength and a fine tone as Ghino. His bright ring and vocal stamina, allied with an ability to really sing through a line, even at the top and at the quietest dynamic, make his evil swagger disconcertingly - enchanting...

The Guardian - George Hall, 11th May 2016
An exciting production of this taut bel canto drama… It is in its four central performances that ETO’s touring production scores most highly. (...) Luciano Botelho’s soft-grained tenor helps him create a credibly three-dimensional portrait of the conflicted Ghino.

Classical source - Peter Reed, 10th May 2016
For the opera really to work, Ghino has to convince us of his change from serpentine, Iago-like malignancy to a state of complete remorse when he realises that he’s engineered the death of the woman he loves. The tenor Luciano Botelho just about achieved it with his assured technique and impressive range

Opera Magazine - Yehuda Shapiro, April 2016
Luciano Botelho ran the full, wide-ranging gamut of the volatile Ghino, throwing out thrusting top notes and displaying an exciting darkness in his lower registers.

Opera Today - Claire Seymour, 10th April 2016
Tenor Luciano Botelho demonstrates strength and a fine tone as Ghino. His bright ring and vocal stamina, allied with an ability to really sing through a line, even at the top and at the quietest dynamic, makes his evil swagger disconcertingly enchanting; at times it seems as if he believes his own lies - like Iago his villainy is greater because he has prodigious charm. Botelho rose to the demands of his Act 1 opener,‘Mi volesti sventurato’, his highlying phrases pulsing with the energy of grievance; yet, in his duets with Nello and, in Act 2, Pia he revealed a softer tone, suggesting genuine sentiment. Even Ghino’s death scene was convincingly sincere; for once, too, there were no protracted ‘resurrections’ and his demise was all the more affecting for its swiftness. This was an admirable vocal portrayal of an intensely drawn reprobate, who was certainly no cardboard villain.

* * *

IDOMENEO RE DI CRETA

Operalogg.com - Mogens H Andersson – 30 October 2016
Luciano Botelho is going from strength to strength and never have I seen him like this: in his sizzling best!

Sverigesradio - Per Feltzin – 25th September 2016
Briton Paul Nilon singing the lead role together with Luciano Botelho, Ida Falk Winland and Ingela Brimberg portrayed what Mozart really wanted to get.

Svenska dagbladet - Bo Löfvendahl – 27th September 2016
...and Luciano Botelho as Idamante are outstanding interpreters of Mozart's charged rebellion against his father.

Sverigesradio - Thorvald Pellby Petterson – 28th September 2016
The soloists are world class, (…)Idamante is interpreted by the lyric tenor Luciano Botelho in a very sensitive way.

Aftonbladet - Lennart Bromander – 27th September 2016
The son Idamante, originally sung by a castrato and generally sung by a mezzo, is presented here by the very fine sounding lyric tenor Luciano Botelho.

Göteborgs Posten - Haglund 26th September 2016
The vocal soloists are truly outstanding in this show. An elevated moment is also fully achieved during the duet between Idamante, warmly interpreted by the tenor Luciano Botelho and concertmaster David Bergstrom transparent violin solo: here you fly in Mozart sharp and free melodies." Magnus

expressen.se - Gunilla Brodrej – 26th September 2016
Luciano Botelho's Idamante has precisely the right twinkling idealism in its tenor.

* * *

RIGOLETTO

Examiner - Sean Hillen, 26th May 2015
I found the singing to be of a high quality, with the main characters - Northern Irish baritone Bruno Caproni in the title role, soprano Emma Nash as Gilda and Botelho, particularly outstanding. Credible emotive context was sometimes lacking but I suppose it is somewhat unfair to expect a performer to be a wonderful opera singer and an equally wonderful actor. Botelho, however, did very well in both categories as the epitome of vanity

Irish Mail - Michael Moffat, 24th May 2015
Luciano Botelho, as Duke, who regularly gets to display his torso and his undies, has a lyrical, not a heavyweight, voice that’s impressive.

The Irish Times - Michael Dervan, 17th May 2015
In Luciano Botelho there is an efficient, heartless Duke, who shows a cruel blend of vocal appeal and reprehensive behaviour

www.unidivers.fr - Thierry Martin - 31st May 2014
Luciano Botelho, Brazilian tenor singing the role of the Duke of Mantua shows since the beginning real vocal qualities and imposes a handsome character.


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