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Alagna © Jean-Marc Lubrano

Roberto Alagna

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Almost everything has already been said about the most Italian of the French stars. His unique timbre and the brightness of his voice, a generosity on stage with his fans and his great curiosity that allows him to address a wide repertoire, praise is frequent but sometimes brings polemic as often is the case with visible success.

Roberto Alagna never leaves one indifferent which is perhaps his biggest feature. As Callas in her time, facts and gestures of the tenor take on a significance that goes beyond the microcosm of the lyrical world. His true place is on stage where he remains one of the greatest tenors of the world. The ticket applications for his season are still not falling. In the many roles tackled by Roberto Alagna, one does not know which one to choose among the most applauded. Between Alfredo in La Traviata which opened the doors of the great international opera houses or Romeo and his amazing "Ah! Arise, Sun! "Devastating Rodolfo Pagliacci, the heroes of the French opera, Don José, Werther, ... and rare works like Cyrano d´Alfano, Fiesco Lalo, Massenet's Le Cid, Francesca da Rimini by Zandonai.

It's always with passiona that the tenor incarnates these heroes as well as the contemporary repertoire including the last day of a condemned man (composed by his brother David). Few artists possess his kind of aura, Roberto Alagna is a absolutely a unique artist.

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Born in a Sicilian family, Roberto grew up in a Parisian suburb, surrounded by music. His natural taste for music leads him first to a career as a self-taught cabaret singer. His career changes tack when he meets Gabriel Dussurget, manager of the Aix Festival. He participates to a young talents concert thanks to Elizabeth Cooper and wins the Pavarotti singing contest in 1988.

 

Since then, his career gets going: a first Traviata in Glyndebourne precedes his first steps at Teatro alla Scala. He’s only 26. He goes on with different leading roles: Duca di, Mantova, Rodolfo, Nemorino, Edgardo… Thanks to his stunning role as Romeo, he gets the Lawrence Oliver Award. The French public notices his perfect elocution and especially his revolutionary pronunciation of the letter “r”. But like the Sheakespearian hero, Roberto loses his wife suffering from a disease. He gets going with shows around the world.

 

During a La Bohème rehearsal at Metropolitan Opera, he meets Angela Gheorgiu. Their private and public life hit the headlines like Callas in her famous years. They performed together several operas as L’Elisir d’Amore, La Rondine, Romeo and Juliet, Faust… And Tosca adapted to the cinema by Benoît Jacquot. Revealed like stars, their problems and their cancelling are wildly commented. They break in 2009.

 

Roberto keeps on exploring a forgotten repertoire – Cyrano de Bergerac, Fiesque, Le Jongleur de Notre-Dame etc…- but also suggesting his new creations (Le Journal d’un Condamné, Marius et Fanny). At the apogee of his career, he performs the forgotten songs of Luis Mariano and Sicilian melodies to share his music with everybody.

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Almost everything has already been said about the most Italian of the French stars. His unique timbre and the brightness of his voice, a generosity on stage with his fans and his great curiosity that allows him to address a wide repertoire, praise is frequent but sometimes brings polemic as often is the case with visible success.

Roberto Alagna never leaves one indifferent which is perhaps his biggest feature. As Callas in her time, facts and gestures of the tenor take on a significance that goes beyond the microcosm of the lyrical world. His true place is on stage where he remains one of the greatest tenors of the world. The ticket applications for his season are still not falling. In the many roles tackled by Roberto Alagna, one does not know which one to choose among the most applauded. Between Alfredo in La Traviata which opened the doors of the great international opera houses or Romeo and his amazing "Ah! Arise, Sun! "Devastating Rodolfo Pagliacci, the heroes of the French opera, Don José, Werther, ... and rare works like Cyrano d´Alfano, Fiesco Lalo, Massenet's Le Cid, Francesca da Rimini by Zandonai.

It's always with passiona that the tenor incarnates these heroes as well as the contemporary repertoire including the last day of a condemned man (composed by his brother David). Few artists possess his kind of aura, Roberto Alagna is a absolutely a unique artist.

  • Functie Tenor
  • Nationaliteit French
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Actualiteiten met Roberto Alagna

  • 28/10/2016
  • 13/10/2016
  • 28/01/2016

    De vervanging van Jonas Kaufmann in Manon Lescaut in de Metropolitan Opera biedt Roberto Alagna de kans zijn debuut te maken in de rol van Des Grieux

  • 01/12/2015

    Tenor Roberto Alagna wordt vandaag benoemd tot "Österreichischer Kammersänger“ van de Wiener Opera

  • 07/01/2015
  • 17/10/2014

    Raymond Duffaut, Directeur général des Chorégies d’Orange et Conseiller artistique de l’Opéra Grand Avignon, sera aux côtés de Roberto Alagna chez Michel Drucker dans Vivement Dimanche sur France 2 le 19 octobre prochain.

  • 24/06/2014

    Avant Orange, Roberto Alagna chante le 27/6, des extraits d’Otello de Verdi à la Salle Pleyel très bien entouré de Dmitri Hvorostovsky et Inva Mula.

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Biografie met Roberto Alagna

Born in a Sicilian family, Roberto grew up in a Parisian suburb, surrounded by music. His natural taste for music leads him first to a career as a self-taught cabaret singer. His career changes tack when he meets Gabriel Dussurget, manager of the Aix Festival. He participates to a young talents concert thanks to Elizabeth Cooper and wins the Pavarotti singing contest in 1988.

 

Since then, his career gets going: a first Traviata in Glyndebourne precedes his first steps at Teatro alla Scala. He’s only 26. He goes on with different leading roles: Duca di, Mantova, Rodolfo, Nemorino, Edgardo… Thanks to his stunning role as Romeo, he gets the Lawrence Oliver Award. The French public notices his perfect elocution and especially his revolutionary pronunciation of the letter “r”. But like the Sheakespearian hero, Roberto loses his wife suffering from a disease. He gets going with shows around the world.

 

During a La Bohème rehearsal at Metropolitan Opera, he meets Angela Gheorgiu. Their private and public life hit the headlines like Callas in her famous years. They performed together several operas as L’Elisir d’Amore, La Rondine, Romeo and Juliet, Faust… And Tosca adapted to the cinema by Benoît Jacquot. Revealed like stars, their problems and their cancelling are wildly commented. They break in 2009.

 

Roberto keeps on exploring a forgotten repertoire – Cyrano de Bergerac, Fiesque, Le Jongleur de Notre-Dame etc…- but also suggesting his new creations (Le Journal d’un Condamné, Marius et Fanny). At the apogee of his career, he performs the forgotten songs of Luis Mariano and Sicilian melodies to share his music with everybody.