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Bass-baritone Patrick Carfizzi opens the 2014-2015 season with the St. Louis Symphony under the baton of Markus Stenz in Brahms’ Requiem and Vier ernste Gesänge, followed by his company debut with the Lyric Opera of Kansas City as Mustafa in Rossini’s L’Italiana in Algeri. Mr. Carfizzi will return to Seattle Opera as the Music Master and Truffaldino in Strauss’ Ariadne auf Naxos, as well as Houston Grand Opera as the Speaker in Sir Nicholas Hytner’s production of Mozart’s The Magic Flute conducted by Robert Spano. Mr. Carfizzi rounds out his season with his role and company debut as the title role in Donizetti’s Don Pasquale with the Hessisches Staatsoper in Wiesbaden, Germany. Mr. Carfizzi’s 2013-2014 season celebrated his 300th performance with the Metropolitan Opera, including the roles of Quince in Tim Albery’s production of Britten’s A Midsummer Night’s Dream conducted by James Conlon, Frank in Jeremy Sams’ new production of Strauss’ Die Fledermaus, and Schaunard in Zeffirelli’s iconic production of La Bohème, which was broadcast on the Emmy and Peabody Award-winning Live

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Bass-baritone Patrick Carfizzi opens the 2014-2015 season with the St. Louis Symphony under the baton of Markus Stenz in Brahms’ Requiem and Vier ernste Gesänge, followed by his company debut with the Lyric Opera of Kansas City as Mustafa in Rossini’s L’Italiana in Algeri. Mr. Carfizzi will return to Seattle Opera as the Music Master and Truffaldino in Strauss’ Ariadne auf Naxos, as well as Houston Grand Opera as the Speaker in Sir Nicholas Hytner’s production of Mozart’s The Magic Flute conducted by Robert Spano. Mr. Carfizzi rounds out his season with his role and company debut as the title role in Donizetti’s Don Pasquale with the Hessisches Staatsoper in Wiesbaden, Germany.

Mr. Carfizzi’s 2013-2014 season celebrated his 300th performance with the Metropolitan Opera, including the roles of Quince in Tim Albery’s production of Britten’s A Midsummer Night’s Dream conducted by James Conlon, Frank in Jeremy Sams’ new production of Strauss’ Die Fledermaus, and Schaunard in Zeffirelli’s iconic production of La Bohème, which was broadcast on the Emmy and Peabody Award-winning Live in HD series to movie theaters around the world. Other highlights of the recent season included a concert production of Britten’s Peter Grimes with the St. Louis Symphony under the baton of David Robertson, performed both in St. Louis’ Powell Hall and New York City’s Carnegie Hall in commemoration of the composer’s 100th birthday, and a return to the Opera Theatre of St. Louis for his role debut as Dulcamara in Donizetti’s L’elisir d’amore.

Notable past engagements include Henry Kissinger in the San Francisco Opera premiere of John Adams’ Nixon in China, Paolo in Simon Boccanegra (San Francisco Opera, Metropolitan Opera, and Houston Grand Opera), Belcore in L’elisir d’amore (Santa Fe Opera), Don Magnifico in La Cenerentola (Seattle Opera and Houston Grand Opera), Dr. Bartolo in Il Barbiere di Siviglia (Seattle Opera, Houston Grand Opera, Opera Theatre of St. Louis, Central City Opera, and Canadian Opera Company), Taddeo and Mustafa in L’Italiana in Algeri (Dallas Opera and Houston Grand Opera, respectively), Papageno in Die Zauberflöte (Houston Grand Opera and Dallas Opera). A favorite artist of Oper Köln, Mr. Carfizzi made his European debut with the company as Leporello in Mozart’s Don Giovanni and reappeared with the company in 2012 as Fra Melitone in La forza del destino.

Mr. Carfizzi made his Metropolitan Opera debut in 1999 and has performed with the company in a variety of roles, including the Jailer in John Dexter’s production of Dialogues des Carmélites, Schaunard in La Bohème, Masetto in Don Giovanni, Haly in L’Italiana in Algeri, Brander in Berlioz’ La damnation de Faust, and Peter Quince in Benjamin Britten’s A Midsummer Night’s Dream. Other Met productions include Le nozze di Figaro, Turandot, and Gianni Schicchi. Mr. Carfizzi’s concert work includes performances of Handel’s Messiah with the San Francisco Symphony, Donizetti’s Maria Stuarda with the Washington Concert Opera, and Janáček’s Glagolitic Mass with Seattle Symphony. He has performed under the auspices of The Opera Orchestra of New York, Washington Concert Opera, and the Mostly Mozart Festival. Notable conductors with whom Mr. Carfizzi has worked include James Levine, Louis Langrée, Marco Armiliato, Vladimir Jurowski, Plácido Domingo, and Philippe Jordan.

Mr. Carfizzi is a graduate of the Yale University School of Music and the winner of several prestigious awards including the Richard Tucker Career Grant Award, the George London Award, the Sullivan Foundation Award, The Richard F. Gold Career Grant from The Shoshana Foundation, and the Sergio Franchi Memorial Scholarship from the National Italian American Foundation. He also participated in the Metropolitan Opera National Council Auditions where he was the Connecticut District Winner.

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Reviews

"Arguably the show’s very finest singing came from the accomplished Bartolo, Patrick Carfizzi...Mr. Carfizzi’s impressive bass is as powerful as it is handsome. Make no mistake, he certainly knows how to use a full arsenal of buffo vocal tricks and colors to nail his laughs and etch his scheming Don, but then he can suddenly take our breath away with a finely sung declamation that is remarkably elegant."

Opera Today

"Patrick Carfizzi — wonderful comic actor and fine singer who knew how, when it made sense, to draw on Rossini's vocal ornamentation to considerable comic effect."

Opera News

"Carfizzi’s performance is worth the price of the ticket and will be remembered as a role-defining portrayal of Dr. Bartolo. - Central City Opera, Barber of Seville "

The Mountain-Ear

"Patrick Carfizzi, the warm bass who sang the role of Mary's friend and adviser Talbot, sang with a rich sound and complete emotional involvement so that his character sprang to life. "

Washington Post

"As Figaro, Patrick Carfizzi displayed a robust and rich voice with the ability to produce powerful and delicately sweet sounds, along with the dramatic skill to convincingly portray Figaro’s complex character."

The Wichita Eagle

"With impeccable comic timing and richly nuanced bass-baritone voice, Patrick Carfizzi set the gold standard as the malevolent buffoon of a father Don Magnifico."

Oregon Music News

"The magical scene stealer, Patrick Carfizzi as the lovesick Papageno, keeps the audience laughing. Carfizzi’s comic genius includes spontaneous interactions with the audience and delivering perfectly timed comic phrases."

Marilee Vergati, examiner.com

"In the role of Papageno…bass-baritone Patrick Carfizzi nearly steals the evening with not only his voice, but his onstage shtick that adds to the comic nature of the role and gets the biggest laughs in the piece."

John Norine, Jr., TheaterJones

"Patrick Carfizzi created a delightfully pompous Dr. Bartolo, who boiled with frustration in his vain attempts to stop Rosina from meeting Almaviva. During the singing lesson in Act II, Carfizzi used his incredible falsetto and an incredibly silly impromptu dance to cause laughter to cascade from all corners of the hall."

James Bash, Oregon Music News

"Grand, perfect singing came from bass-baritones Patrick Carfizzi and Kyle Ketelsen, respectively as Dr. Bartolo and Don Basilio."

Theodore Bale, Culturemap Houston

"Patrick Carfizzi (HGO fans will remember his stunning performance as Swallow in Peter Grimes), a Figaro who is simultaneously animated and confident. There has to be sex appeal in this part, and Carfizzi most certainly possesses it."

Theodore Bale, CultureMap Houston

"Patrick Carfizzi brought a sonorous bass-baritone to the role of Kissinger and lascivious relish to his alter ego."

Lawrence A. Johnson, South Florida Classical Review