Gaetano Donizetti

Don
Pasquale
CONDUCTOR
Dramma buffo in three acts
James Levine
Libretto by Giovanni Ruffini and the composer
PRODUCTION
Otto Schenk
Saturday, November 13, 2010, 1:00–3:45 pm
SET & COSTUME DESIGNER
Rolf Langenfass
LIGHTING DESIGNER
Duane Schuler

This production of Don Pasquale was

made possible by a generous gift from
The Sybil B. Harrington Endowment Fund.

The revival of this production was made possible

by a gift from The Dr. M. Lee Pearce Foundation.

GENERAL MANAGER
Peter Gelb
MUSIC DIRECTOR
James Levine
 2010–11 Season

The 129th Metropolitan Opera performance of

Gaetano Donizetti’s

Don
Pasquale
Conductor
James Levine

in order of vocal appearance

Don Pasquale, an elderly bachelor

John Del Carlo

Dr. Malatesta, his physician

Mariusz Kwiecien*

Ernesto, Pasquale’s nephew

Matthew Polenzani

Norina, a youthful widow, beloved of Ernesto

Anna Netrebko

A Notary, Malatesta’s cousin Carlino

Bernard Fitch

Saturday, November 13, 2010, 1:00–3:45 pm

 This afternoon’s performance is being transmitted
live in high definition to movie theaters worldwide.

The Met: Live in HD series is made possible by a generous grant from its
founding sponsor, the Neubauer Family Foundation.

Bloomberg is the global corporate sponsor of The Met: Live in HD.

Marty Sohl/Metropolitan Opera

Mariusz Kwiecien as Chorus Master Donald Palumbo
Dr. Malatesta and Musical Preparation Denise Massé, Joseph Colaneri,
Anna Netrebko as Carrie-Ann Matheson, Carol Isaac, and Hemdi Kfir
Norina in a scene Assistant Stage Directors J. Knighten Smit and
from Donizetti’s Don
Pasquale
Kathleen Smith Belcher
Prompter Carrie-Ann Matheson
Met Titles Sonya Friedman
Scenery, properties, and electrical props constructed
and painted in Metropolitan Opera Shops
Costumes executed by Metropolitan Opera Costume
Department
Wigs by Metropolitan Opera Wig Department
Assistant to the costume designer Philip Heckman

This performance is made possible in part by public

funds from the New York State Council on the Arts.

Before the performance begins, please switch off

cell phones and other electronic devices.
* Graduate of the
Lindemann Young Artist
Development Program

Yamaha is the official piano

of the Metropolitan Opera.

Latecomers will not be

admitted during the
Met Titles
performance. To activate, press the red button to the right of the screen in front of your
seat and follow the instructions provided. To turn off the display, press
the red button once again. If you have questions, please ask an usher at
Visit metopera.org intermission.
What’s on Stage
A new production of Don Carlo opens in November with
Roberto Alagna in the title role of Verdi’s most ambitious
opera. Elīna Garanča reprises her sensational performance
in the title role of Carmen. La Fanciulla del West (The Girl
of the Golden West) returns to the Met 100 years after its
Met world premiere, starring Deborah Voigt and Marcello
Giordani. Simon Rattle makes his Met debut conducting
Debussy’s impressionistic masterpiece, Pelléas et Mélisande.

Bizet
CARMEN
Nov 4, 8, 12, 16, 20, 24, 27 mat, 30  Dec 4, 9

Verdi
DoN CARlo
New ProductioN

Nov 22, 26, 29  Dec 3, 7, 11 mat, 15, 18 mat

Puccini
lA FANCiullA DEl WESt
Dec 6, 10, 14, 18, 22, 27, 30 JaN 3, 8 mat

Debussy
PElléAS Et MéliSANDE
Dec 17, 20, 23, 29 JaN 1 mat

Visit metopera.org for full casting information and ticket availability.

Synopsis

Rome, mid-19th century

Act I
scene 1 Don Pasquale’s house
scene 2 Norina’s Terrace

Act II
Don Pasquale’s house

Intermission
Act III
scene 1 Don Pasquale’s house
scene 2 Don Pasquale’s garden

Act I
The old bachelor Don Pasquale plans to marry in order to punish his rebellious
nephew, Ernesto, who is in love with the young widow Norina. Pasquale wants an
heir so he can cut the young man off without a penny. He consults Dr. Malatesta,
who suggests as a bride his own beautiful younger sister (“Bella siccome un
angelo”). Feeling his youth returning, the delighted Pasquale tells Malatesta to
arrange a meeting at once. Ernesto enters and again refuses to marry a woman
of his uncle’s choice. Pasquale tells him that he will have to leave the house,
then announces his own marriage plans to his astonished nephew. With no
inheritance, Ernesto sees his dreams evaporating. To make matters worse, he
learns that his friend Malatesta has arranged Pasquale’s marriage.

On her terrace, Norina laughs over a silly romantic story she’s reading. She is
certain of her own ability to charm a man (“Quel guardo il cavaliere”). Malatesta
arrives. He is in fact plotting on her and Ernesto’s behalf and explains his plan:
Norina is to impersonate his (nonexistent) sister, marry Pasquale in a mock
ceremony, and drive him to such desperation that he will be at their mercy. Norina
is eager to play the role if it will help her win Ernesto (Duet: “Pronta io son”).

Act II
Ernesto, who knows nothing of Malatesta’s scheme, laments the loss of Norina,
imagining his future as an exile (“Cercherò lontana terra”). He leaves when
Pasquale appears, who is impatient to meet his bride-to-be. Enchanted when
Malatesta introduces the timid “Sofronia,” the old man decides to get married
at once. During the wedding ceremony, Ernesto bursts in and accuses Norina

39
 Synopsis continued

of faithlessness. Malatesta quickly whispers an explanation and Ernesto plays

witness to the wedding contract. As soon as the document is sealed and Pasquale
has signed over his fortune to his bride, Norina changes her act from demure
girl to willful shrew. The shocked Pasquale protests, while Norina, Ernesto, and
Malatesta enjoy their success (Quartet: “È rimasto là impietrato”).

Act III
Pasquale’s new “wife” has continued her extravagant ways and amassed a
stack of bills. When servants arrive carrying more purchases, Pasquale furiously
resolves to assert his rights as husband. Norina enters, dressed elegantly for
the theater, and gives him a slap when he tries to bar her way. He threatens her
with divorce, while she, in an aside, expresses sympathy for the old man’s pain
(Duet: “Signorina, in tanta fretta”). As she leaves, she drops a letter implying
that she has a rendezvous with an unknown suitor in the garden that night. The
desperate Pasquale sends for Malatesta and leaves the servants to comment
on working in a household fraught with such confusion. Malatesta then tells
Ernesto to make sure that Pasquale will not recognize him when he plays his part
in the garden that evening. Alone with Pasquale, Malatesta assures him they will
trap “Sofronia” in a compromising situation (Duet: “Cheti, cheti, immatinente”).
Pasquale agrees to leave everything to Malatesta.

In the garden, Ernesto serenades Norina, who responds rapturously (Duet:

“Tornami a dir che m’ami”). They are interrupted by Pasquale and Malatesta—
too late to catch the young man, who slips into the house while “Sofronia” plays
the innocent wife. Malatesta announces that Ernesto is about to introduce his
own bride, Norina, into the house. “Sofronia” protests she will never share the
roof with another woman and threatens to leave. Pasquale can hardly contain
his joy and grants permission for Ernesto to marry Norina, with his inheritance.
When Sofronia turns out to be Norina, Pasquale accepts the situation with good
humor, gives the couple his blessing, and joins in observing that marriage is not
for an old man (Finale: “La morale in tutto questo”).

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 In Focus

Gaetano Donizetti

Don Pasquale
Premiere: Paris, Théâtre Italien, 1843
Don Pasquale is the final comic opera by the prolific Donizetti and one of the last
works he wrote. The story revolves around a classic comedic premise: a young
couple in love schemes to thwart the inappropriate plans of a pompous old man,
who wants to marry the girl himself. To accomplish their goal, they have help
from a smart tactician. Needless to say, young love will triumph in the end over
senescent foolishness and hypocrisy: all will be reconciled and live happily ever
after. The tension lies in the means to the presupposed end. The same format
has served comedy from the Romans to the sitcoms of our own time and was
especially useful in opera (in Mozart’s Entführung aus dem Serail and especially
Rossini’s Il Barbiere di Siviglia). What makes Don Pasquale notable within this
genre is its emphasis on genuine human emotion. The cathartic moment in Don
Pasquale—when the players stop to wonder if they have gone too far, even if their
original plan was to expose folly and sanctimony—is as “real” and as startling as
anything in opera. It is also strikingly democratic: the familiar model of the good,
young people arrayed against the mean old man is subverted. Even the good
guys have the capacity to be cruel if they do not control themselves. Donizetti
tells this story with a score that is graceful and effervescent, as one would expect
from this master of melody, with an additional level of sophistication to match
the comic (yet insightful) proceedings.

The Creators
Bergamo-born Gaetano Donizetti (1797–1848) completed 65 operas (he left a
number of unfinished ones) and also wrote orchestral and chamber music in a
career abbreviated by mental illness and premature death. Apart from this opera,
the ever-popular Lucia di Lammermoor, and the comic gem L’Elisir d’Amore,
most of his works disappeared from public view after his death. But critical
and popular opinion of his huge opus has grown considerably over the past
50 years. The libretto was written by Giovanni Ruffini (1807–1881), a Genoese
poet and patriot who was living in exile in Paris. Donizetti altered his text to such
an extent that Ruffini refused to have it published under his own name. There is
no evidence of him working in the theater again.

The Setting
The action unfolds in Rome. Donizetti had originally wanted the opera set in his
contemporary era, but conventions of the time required it to be set in the past. The
current production places the action in Donizetti’s time, the early 19th century.

42
The Music
The orchestration is generally light by modern standards, with a clear emphasis
on the vocalism. At the time of the premiere, however, audiences would not
have regarded it as light by comic opera standards: the recitatives are all
accompanied by the orchestra rather than by a harpsichord (which was the
more common practice at the time). The effect is a subtler distinction between
“dialogue” and arias and other set pieces. In general, the solos in Don Pasquale
are not as familiar as their counterparts from some of Donizetti’s other operas,
but they are excellent indicators of character and motivation. The aria with
which the heroine introduces herself to the audience, “Quel guardo il cavaliere,”
is highly demanding vocally but makes a more nuanced impression than the
typical showstopper of the bel canto genre: its point is to communicate the
character’s high spirits and quick wit. The tenor’s Act III folk-influenced serenade
perfectly expresses the forthright innocence suggested by his name, Ernesto.
The baritone–bass duet in Act III also makes extreme demands on the singers:
there are few instances in Italian opera where the device of using rhythm and
accelerating tempo to make a comic impression is more expertly handled.

Don Pasquale at the Met

Not much is known about the circumstances of the company premiere of Don
Pasquale: it occurred outside of the Met, apparently in a concert format, in
1899. Diva Marcella Sembrich was matched with stars Antonio Pini-Corsi and
Antonio Scotti. The same artists were featured in the 1900 house premiere, a
production whose sets and costumes were lost in the San Francisco earthquake
six years later when the Met toured there. The opera continued to be regularly
performed with other shorter operas (Cavalleria Rusticana, Pagliacci, Hansel
and Gretel) and even ballets. A new production in 1935, performed in tandem
with Pergolesi’s La Serva Padrona, featured Ezio Pinza, Lucrezia Bori, Tito Schipa,
and Giuseppe de Luca. The opera was given by itself in 1940, with character
bass Salvatore Baccaloni in the title role and Bidú Sayão as Norina. By 1946 Don
Pasquale was once again sharing the bill, this time with Puccini’s Il Tabarro. A
new production in 1955—again paired with a ballet—featured Fernando Corena,
Roberta Peters, Frank Guarrera, and Cesare Valletti, with Thomas Schippers
conducting in his Met debut. Tenor Luigi Alva sang 13 performances in the
1960s and ’70s. This production was replaced by John Dexter’s 1978 staging,
which marked the farewell performances of Beverly Sills (she sang Norina
18 times through 1979) and also starred Gabriel Bacquier and Nicolai Gedda.
Later performances included tenor Alfredo Kraus. The current production,
directed by Otto Schenk and designed by Rolf Langenfass, opened in 2006 with
Anna Netrebko, Juan Diego Flórez, Simone Alaimo, and Mariusz Kwiecien in
the leading roles.

Visit metopera.org 43
 Program Note

I
n the musical-theatrical center of Paris several streets are fittingly named after
famous composers and librettists: the Rue Favart, Rue Scribe, Rue Auber, and
Rue Méhul, among others. The Opéra, or Salle Garnier, is the district’s crown
jewel, and in the Rue Favart stands the splendid Opéra Comique, or Salle Favart.
In the Rue Méhul stood the elegant, domed Salle Ventadour that was opened
in 1829 by the troupe of the Opéra Comique, but just three years later, with the
theater a million francs in debt, the company moved elsewhere. The Ventadour
became the Théâtre Nautique, which was devoted to watery pantomimes and
naval reenactments. They were soon supplanted by a combination of acting
companies and Italian opera, including the Paris premieres of major works by
Donizetti, Rossini, and Verdi. This operatic glory came to an end in 1878 when
the theater was transformed into a bank.
One of the great creations of the Ventadour’s period as the Théâtre Italien
was the first production in 1843 of Donizetti’s Don Pasquale, opera buffa par
excellence. Gaetano Donizetti (1797–1848), son of a poor pawnshop manager
from Bergamo, had risen to the pinnacle of European operatic success. He
created a number of stage works early in his composing career, such as Le
Nozze in Villa (1820), but his reputation was made a decade later by Anna
Bolena, his 31st opera, and the flood of successes—dramatic, historical, and
comic—that followed at Italy’s principal houses: L’Elisir d’Amore (1832), Lucrezia
Borgia (1833), Maria Stuarda (1835), Lucia di Lammermoor (1835), Il Campanello
di Notte (1836), and Roberto Devereux (1837).
Donizetti’s center of activity had been Naples, where he was also the director
of the royal theaters, but in 1838 he moved to Paris. The French capital was
already Rossini’s base, and both he and Donizetti would compose to French and
Italian libretti. For the Opéra Comique, Donizetti wrote La Fille du Régiment in
1840. It was an enormous hit, amassing more than 1,000 performances before
World War I. Don Pasquale was his final success, but with fewer performances at
the Italien; early Parisian audiences could also hear the work in French. Just three
operas followed in 1843, after which the composer suffered a tragic decline in
health due to syphilis. He died in Bergamo, in 1848, at the age of 51.
Several of the composer’s 65 completed operas, including Don Pasquale,
remained tremendously popular through the 19th and 20th centuries as part of
the standard Italian repertoire worldwide. Their vitality as vocal extravaganzas
for outstanding singers preceded the bel canto renaissance that began in the
1950s, but this period would produce performances and recordings of many of
the more obscure Donizetti titles for grateful singers and audiences.
If La Fille du Régiment was specifically tailored to the requirements of the
French opéra-comique style, Don Pasquale’s roots were thoroughly Italian. Its
modernized commedia dell’arte characters—the fat, pompous guardian, the
scheming young ward and her sentimental lover, the incompetent notary, all

44
cherished by the French—ultimately go back to the Roman comedies of
Plautus.
The immediate source was a successful Italian opera buffa, with music by
Stefano Pavesi and a libretto by Angelo Anelli, entitled Ser Marcantonio. First
produced at La Scala in 1810, it was later heard in Paris. Commissioned by the
Théâtre Italien for a new comic opera, Donizetti turned to Giovanni Ruffini, an
Italian nationalist writer exiled in Paris, to adapt the earlier libretto. This sort of
borrowing was still rampant before the copyright era.
Donizetti, as usual, worked at lightning speed; Ruffini could barely supply the
words fast enough. The composer had to step in with major text changes and
supplements, so many that Ruffini declined to accept authorship in the printed
libretto. A certain “M.A.” is listed as the librettist—“Maestro Anonimo,” that is.
Donizetti claimed to have completed the score in 11 days, but this does not
count the days he spent orchestrating it. Also slowing down the composition
was the jealousy between the singers Antonio Tamburini (Malatesta) and Luigi
Lablache (Don Pasquale) over the flashiness of their respective parts. There was
presumably less friction between the original-cast lovers Giulia Grisi (Norina)
and Giovanni Matteo Mario (Ernesto)—the two would become husband and wife
in real life. And there was another family connection: Lablache’s son Federico
played the Notary.
Donizetti did reuse some older compositions, but Don Pasquale was
novel in having its recitative sections accompanied by strings rather than by a
harpsichord. The bubbly, conversational flow of the musical action is occasionally
interrupted by vocal set pieces, which are all the more striking when they occur,
such as Norina’s Act I reading of a courtly novel, or Ernesto’s melting serenade
in Act III, daringly delivered off-stage with an accompaniment in the Roman
style—guitars, drum, and chorus la-las.
Just as fascinating are the abundance of delightful ensembles, from the Act I
duet in which Doctor Malatesta instructs Norina on how she should seduce Don
Pasquale, to the rather 18th-century “moral” finale, in waltz time. Exasperated,
pattery exchanges between Pasquale and his antagonists are balanced by
touching moments when Donizetti allows us pity for the foolish old man’s
plight. And throughout the opera are piquant little examples of melody and
orchestration that lift the heart, as in the trumpet solo that begins Act II, or
in Ernesto’s earlier, short but glorious confession of love, “Amo Norina, la mia
fed’è impegnata,” or his rueful one-line aside that follows, “Ci volea questa
mania.”
Don Pasquale opened at the Théâtre Italien on January 3, 1843, a day after
Wagner’s Der Fliegende Holländer had its first night in Dresden. (Another
notable premiere that year was Verdi’s Ernani.) Donizetti enjoyed a personal
and financial triumph from performance royalties and sales of the vocal score

45
 Program Note continued

and arrangements of the opera’s melodies. Rather appropriately, the score was
dedicated to the wife of Donizetti’s Paris banker.
Also acclaimed were the singers, especially the rotund Irish-French bass
Lablache in the title role. The critic Henry Chorley called him “the most
remarkable man whom I have ever seen in opera,” a “richly toned and suave”
singer giving a performance that avoided any hint of “grossness or coarse
imitation.” Lablache, with Tamburini and Grisi, had already created Bellini’s
I Puritani at the same theater in 1835.
Don Pasquale quickly spread throughout the operatic world, with
performances in Italy, London, New Orleans, and New York. The star of the first
Met production in 1900 was the Polish soprano Marcella Sembrich, for whom
the company had earlier revived La Fille du Régiment in its original French—it
had generally been performed in Italian—and who had already triumphed as
Donizetti’s bride of Lammermoor in the very first Met season in 1883.
—Richard Traubner

46 Visit metopera.org
Mingle with the gods.
2010–11
season
new productions

das rheingold
boris godunov
don carlo
la traviata
nixon in china
le comte ory
die walküre

repertory productions

ariadne auf naxos

armida
la bohème
capriccio
carmen
les contes d’hoffmann
così fan tutte
don pasquale
la fanciulla del west
iphigénie en tauride
lucia di lammermoor
the magic flute
orfeo ed euridice
pelléas et mélisande
the queen of spades
rigoletto
roméo et juliette
simon boccanegra
tosca
il trovatore
wozzeck

metopera.org
Bryn Terfel as Wotan
Photo: Brigitte Lacombe / Metropolitan Opera 212-362-6000
 The Cast

James Levine
music director and conductor (cincinnati , ohio)

met history Since his 1971 company debut leading Tosca, he has conducted nearly 2,500
operatic performances at the Met—more than any other conductor in the company’s
history. Of the 83 operas he has led here, 13 were company premieres (including Stiffelio,
I Lombardi, I Vespri Siciliani, La Cenerentola, Benvenuto Cellini, Porgy and Bess, Erwartung,
Moses und Aron, Idomeneo, and La Clemenza di Tito). He also led the world premieres of
Corigliano’s The Ghosts of Versailles and Harbison’s The Great Gatsby.
this season In his 40th anniversary season at the Met, he conducts the opening night
new production premiere of Das Rheingold, the new production in the spring of Die
Walküre, and revivals of Simon Boccanegra, Don Pasquale, Il Trovatore, and Wozzeck, as
well as performances of The Bartered Bride at The Juilliard School and Don Carlo and
La Bohème during the Met’s Japan tour. He also leads the MET Orchestra and Boston
Symphony Orchestra at Carnegie Hall and the MET Chamber Ensemble at Weill and
Zankel Hall there. Maestro Levine returns to the Boston Symphony Orchestra for his
seventh season as music director, leading the world premiere of Harrison Birtwistle’s violin
concerto; three of John Harbison’s symphonies; Schumann and Mahler symphonies for
major anniversaries of their births; and music of Wagner, Mozart, Bartók, Stravinsky, and
Schoenberg. He makes his debut with the Staatskapelle Berlin (Mahler’s Sixth Symphony)
in May before taking the Met company on tour to Japan for the fifth time, where he will
celebrate the 40th anniversary of his debut on June 5 in Nagoya with Don Carlo.

Anna Netrebko
soprano (krasnodar , russia )

this season Norina in Don Pasquale at the Met and Mimì in La Bohème with the company
on tour in Japan, Massenet’s Manon with London’s Royal Opera on tour in Japan, Anna
Bolena at the Vienna State Opera, Mimì for her debut in Copenhagen, and Adina in L’Elisir
d’Amore with Munich’s Bavarian State Opera.
met appearances Antonia in Les Contes d’Hoffmann, Juliette in Roméo et Juliette, Lucia di
Lammermoor, Natasha in War and Peace (debut, 2002), Zerlina in Don Giovanni, Musetta
in La Bohème, Gilda in Rigoletto, and Elvira in I Puritani.
career highlights Violetta in La Traviata at the Salzburg Festival, Vienna State Opera, and
Bavarian State Opera; Susanna in Le Nozze di Figaro at the Salzburg Festival; Ilia in Idomeneo,
Susanna, and Gilda with Washington National Opera; Lucia and Juliette with Los Angeles
Opera; Mimì, Manon, and Micaëla in Carmen with the Vienna State Opera; and numerous
roles with St. Petersburg’s Mariinsky Theatre since her company debut in 1994.

48
 John Del Carlo
bass - baritone (san francisco, california )

this season Don Pasquale at the Met, Mr. Scattergood in Menotti’s The Last Savage for his
Santa Fe Opera debut, and Bartolo in Le Nozze di Figaro with the San Francisco Opera
and in concert with the Saito Kinen Orchestra at Carnegie Hall and in Paris and Japan.
met appearances The Speaker in The Magic Flute, the Prince in Adriana Lecouvreur, the
Sacristan in Tosca, Bartolo in Le Nozze di Figaro and Il Barbiere di Siviglia, Kothner in
Die Meistersinger von Nürnberg (debut, 1993), Mathieu in Andrea Chénier, Swallow in
Peter Grimes, Alfieri in Bolcom’s A View from the Bridge, Quince in A Midsummer Night’s
Dream, Baron Zeta in The Merry Widow, and Balducci in Benvenuto Cellini.
career highlights Among his many roles with the San Francisco Opera are Dulcamara
in L’Elisir d’Amore, Alidoro in La Cenerentola, General Boom in Offenbach’s La Grande-
Duchesse de Gérolstein, and Falstaff. He has also appeared with the Paris Opera, Lyric
Opera of Chicago, Seattle Opera, Los Angeles Opera, Covent Garden, Houston Grand
Opera, and the Aix-en-Provence Festival.

Mariusz Kwiecien
baritone (kraków, poland)

this season Dr. Malatesta in Don Pasquale at the Met and Marcello in La Bohème on tour
with the company in Japan, the title roles of Eugene Onegin and Szymanowski’s King
Roger in Madrid, Count Almaviva in Le Nozze di Figaro with Seiji Ozawa in Japan and at
Carnegie Hall, and Eugene Onegin in Kraków.
met appearances Enrico in Lucia di Lammermoor, Guglielmo in Così fan tutte, Escamillo
in Carmen, Kuligin in Káťa Kabanová (debut, 1999), Silvio in Pagliacci, Haly in L’Italiana in
Algeri, and Count Almaviva.
career highlights Don Giovanni at the Vienna State Opera, Covent Garden, Bavarian State
Opera, San Francisco Opera, Seattle Opera, and Santa Fe Opera; Eugene Onegin in
Munich, Moscow, Warsaw, and Chicago; Count Almaviva at Covent Garden and in Munich,
Chicago, Madrid, and Glyndebourne; and King Roger with the Paris Opera.

49
 The Cast continued

Matthew Polenzani
tenor (evanston, illinois)

this season Ernesto in Don Pasquale and Alfredo in La Traviata at the Met, Ferrando in
Così fan tutte with the Paris Opera, Nemorino in L’Elisir d’Amore in Munich, and Des
Grieux in Manon with London’s Royal Opera on tour in Japan.
met appearances More than 200 performances of 29 roles, including Tamino in Die
Zauberflöte, Don Ottavio in Don Giovanni, Roméo, Belmonte in Die Entführung aus
dem Serail, David in Die Meistersinger von Nürnberg, Count Almaviva in Il Barbiere di
Siviglia, Iopas in Les Troyens, Chevalier de la Force in Dialogues des Carmélites, Lindoro
in L’Italiana in Algeri, and Boyar Khrushchov in Boris Godunov (debut, 1997).
career highlights Idomeneo in Turin, Tamino with the Vienna State Opera and Los Angeles
Opera, Belmonte and Roméo at the Lyric Opera of Chicago, the Duke in Rigoletto in
Philadelphia, Edgardo in Lucia di Lammermoor in Vienna and at Paris’s Bastille Opera,
Nemorino and Don Ottavio in Vienna and Salzburg, Ferrando at Covent Garden, and
Achille in Iphigénie en Aulide in Florence. Recipient of the 2007–08 Beverly Sills Award.

50 Visit metopera.org