Luca Pisaroni recently made his debuts at Alice Tully Hall (New York City) and Roy Thomson Hall (Toronto) in recital with tenor, Michael Schade.

Pisaroni’s Lyric Opera of Chicago debut as Argante in Händel’s Rinaldo was praised by audiences and critics alike. 

On April 29, Mr. Pisaroni will appear in a Gala Concert at the Heidelberger Frühling Festival with father-in-law and star-baritone, Thomas Hampson. The West German Radio Symphony Orchestra will be conducted by Massimo Zanetti for this very special night of arias and duets by Giuseppe Verdi, Gioacchino Rossini and Wolfgang Amadeus Mozart.  

Later this season Pisaroni will make his debut at the Bayerische Staatsoper as Figaro in Le Nozze di Figaro (May 3-13)before reprising the same signature role at the Wiener Staatsoper (June 3-13). Mr. Pisaroni has played Figaro to acclaim at The Metropolitan Opera, the Salzburg Festival, the Opéra National de Paris, San Francisco Opera, and the Santa Fe Opera, along with many others. The New York Times praised Pisaroni on his Metropolitan Opera performance of Figaro, saying: “Luca Pisaroni, a young Venezuelan bass-baritone, was a tall, handsome Figaro, with a warm, burnished sound and ample charisma.” and the San Francisco Sentinel raved about his 2010 performance of Figaro at the San Francisco Opera, saying: “Pisaroni is the ideal romantic lead. The voice is strong and agile and he has plenty of carnal appeal.”

This summer, Mr. Pisaroni will carry the title role in Santa Fe Opera‘s world premiere staging of the new critical edition of Rossini’s Maometto II (July 14 -August 16). A love story set against a backdrop of the Venetian colony of Negroponte, Maometto II includes some show-stopping coloratura arias. See this YouTube interview for Pisaroni’s thoughts on the opera’s “very relevant” story for today, as it tells of an impossible love set amid struggles between the worlds of Christianity and Islam. He also talks about how “incredibly challenging vocally” the role of Maometto II is – and how his “jaw dropped to the floor” when he saw Samuel Ramey sing it at La Scala in 1994, a performance which sparked Pisaroni’s desire to take up the part someday.