back to top

Biography 1436 words

Download biography as pdf Download biography as word doc

American bass Raymond Aceto has established an important presence among the world's leading opera companies and symphony orchestras. His performances continue to gather both popular and critical acclaim. Of his performance as Baron Scarpia, The Houston Chronicle hailed, "Raymond Aceto oozes suave villainy as the evil Baron Scarpia, his voice a dark rumble of menace and lust as he plots to destroy Cavaradossi and conquer Tosca… intelligent characterization distinguishes Aceto's Scarpia as more than a cartoon villain. Commanding in voice and presence, implacable in his lust for Tosca, he is nonetheless subtle in his calculations. It's his smiling ease that confirms how dangerous he is." In the 2014-2015 season, Mr. Aceto appears in San Francisco Opera’s production of Carlisle Floyd’s Susannah as the hell-raising preacher Olin Blitch, opposite Patricia Racette; he also sings Oroveso in Bellini’s Norma at Gran Teatre del Liceu in Barcelona under the baton of Renato Palumbo, and Vodník in Dvořák’s Rusalka at New Orleans Opera. His concert calendar includes Szymanowski's King Roger with Charles Dutoit and the Boston Symphony Orchestra;

read more...

American bass Raymond Aceto has established an important presence among the world's leading opera companies and symphony orchestras. His performances continue to gather both popular and critical acclaim. Of his performance as Baron Scarpia, The Houston Chronicle hailed, "Raymond Aceto oozes suave villainy as the evil Baron Scarpia, his voice a dark rumble of menace and lust as he plots to destroy Cavaradossi and conquer Tosca… intelligent characterization distinguishes Aceto's Scarpia as more than a cartoon villain. Commanding in voice and presence, implacable in his lust for Tosca, he is nonetheless subtle in his calculations. It's his smiling ease that confirms how dangerous he is."

In the 2014-2015 season, Mr. Aceto appears in San Francisco Opera’s production of Carlisle Floyd’s Susannah as the hell-raising preacher Olin Blitch, opposite Patricia Racette; he also sings Oroveso in Bellini’s Norma at Gran Teatre del Liceu in Barcelona under the baton of Renato Palumbo, and Vodník in Dvořák’s Rusalka at New Orleans Opera. His concert calendar includes Szymanowski's King Roger with Charles Dutoit and the Boston Symphony Orchestra; a concert presentation of Verdi’s I Due Foscari at the Gran Teatre del Liceu with Plácido Domingo, conducted by Massimo Zanetti; and “Wagner versus Beethoven,” a program of highlights from Lohengrin, Fidelio, and Tristan und Isolde at Opéra Théâtre de Limoges.

Mr. Aceto opened his 2013-2014 season with a return to the Royal Opera House to perform the role of Timur in Puccini’s Turandot with Maestro Henrik Nanasi. Mr. Aceto continued his season by appearing with the Arizona Opera Company as Daland in Der Fliegende Holländer, Scarpia in Tosca with the Teatro Comunale di Bologna, Escamillo in Carmen with the Festival dell’Arena di Verona, and Zaccaria in Nabucco with the Teatro Comunale di Firenze under the baton of Renato Palumbo. Symphonic highlights included performances of The Cunning Little Vixen with the Cleveland Orchestra conducted Franz Welser-Möst, Beethoven’s Symphony No. 9 with the Dallas Symphony, and performances of Verdi’s Requiem with the New West Symphony and Phoenix Symphony.

Mr. Aceto is well-known at leading opera houses around the world. He has appeared frequently with the Metropolitan Opera, most recently as Zaccaria in Nabucco, the King in Aida, and Il Commendatore in Don Giovanni, and Sparafucile in Rigoletto. His debut with Lyric Opera of Chicago was as the High Priest in Nabucco, and he has since appeared with that company as Banquo in Macbeth, Basilio in Il Barbiere di Siviglia, Fafner in Das Rheingold and Siegfried, the Old Hebrew in Samson et Dalila, Nourabad in Les pêcheurs de perles, Alaska Wolf Joe in Rise and Fall of the City of Mahagonny, Ramfis in Aida, Comte des Grieux in Massenet’s Manon, and Varlam in Boris Godunov. Mr. Aceto made his debut with San Francisco Opera as Monterone in Rigoletto and later returned as Banquo in Macbeth, the King in Aida, and Timur in Turandot. He regularly appears with Houston Grand Opera, including performances as Scarpia in Tosca, Seneca in L’incoronazione di Poppea, Sparafucile in Rigoletto, Raimondo in Lucia di Lammermoor, Fiesco in Simon Boccanegra, Pimen in Boris Godunov, Escamillo in Carmen, Sarastro in Die Zauberflöte, as well as Il Commendatore in Don Giovanni. Mr. Aceto has appeared frequently with The Dallas Opera in roles including Leporello in Don Giovanni, Basilio in Il Barbiere di Siviglia, Raimondo in Lucia di Lammermoor, Monterone in Rigoletto, Colline in La bohème, Fafner and Fasolt in Das Rheingold, Walter in Luisa Miller, and Sarastro in Die Zauberflöte. His first performances of Rocco in Fidelio were with the Canadian Opera Company, and he returned there for the world premiere of Randolph Peter’s The Golden Ass and as Daland in Der fliegende Holländer. He reprised the role of Sparafucile for his debuts with L'Opéra de Montréal and the Santa Fe Opera. Mr. Aceto returned to Santa Fe Opera as Scarpia in Tosca and the Archbishop in King Arthur. He has also appeared in leading roles with the opera companies of Seattle, Philadelphia, Cincinnati, Baltimore, Boston, Colorado, Pittsburgh, North Carolina, and Cleveland, as well as the opera festivals in St. Louis and Spoleto (USA).

Mr. Aceto made his debut at the Royal Opera House, Covent Garden, as Don Basilio in a new production of Il Barbiere di Siviglia conducted by Mark Elder, and he was quickly re-engaged for performances as Sparafucile and as Ferrando in Elijah Moshinsky’s production of Il Trovatore. He made his debut with Madrid’s Teatro Real in the role of Ferrando, and the role of Ramfis in Aida was the vehicle for his debut at the Deutsche Oper Berlin, Arena di Verona, and the Vienna Staatsoper. He returned to the Deutsche Oper Berlin for performances as Fiesco and to Verona for performances as Escamillo, which were recorded and released on DVD by TDK. He also performed the role of Escamillo with Palermo’s Teatro Massimo. Mr. Aceto made his European debut as Monterone with the Netherlands Opera, followed by performances of Loredano in I due Foscari at Brussels’ Théâtre de la Monnaie. Recent European engagements include a return to the Deutsche Oper Berlin as Escamillo in a new production of Carmen and Raimondo in Lucia di Lammermoor, and Jean Procida in Le Vêspres Sicilienne with Oper Frankfurt.

Mr. Aceto is also in demand as a concert artist, and highlights of his recent engagements include appearances with the Cleveland Orchestra under the baton of Franz Welser-Möst in Beethoven’s Symphony No. 9 and Méphistophélès in Faust, Beethoven’s Mass in C Major led by Leonard Slatkin, performances of Verdi’s Requiem, and Zuniga in a concert presentation of Carmen; the San Francisco Symphony in Mahler’s Symphony No. 8 conducted by Michael Tilson Thomas, as well as performances by Beethoven’s Symphony No. 9, Stravinsky’s Pulcinella, and Ravel’s L’enfant et les sortileges; the Boston Symphony Orchestra in Beethoven’s Symphony No. 9 and in Salome at Tanglewood under Seiji Ozawa; the Minnesota Orchestra as Rocco in Fidelio and in Beethoven’s Symphony No. 9; the Colorado Symphony in Verdi’s Requiem; the Nashville Symphony in Mahler’s Symphony No. 8; the Tucson Symphony Orchestra in Beethoven’s Missa Solemnis; the St. Louis Symphony in a concert presentation of Carmen; the Dallas Symphony as Méphistophélès in La Damnation de Faust and Verdi’s Requiem; and he has also performed Beethoven’s Symphony No. 9 in Toronto and at the Hollywood Bowl. Mr. Aceto first performed the title role in Boito's Mefistofele with Boston's Chorus Pro Musica, and in 1996 he was the featured bass soloist with the Festival International de Lanaudière for a televised performance of scenes from FaustMefistofele, and La damnation de Faust. He made his Alice Tully Hall debut as Balthazar in a concert performance of Donizetti’s La Favorite with L'Opéra Français de New York, and his Carnegie Hall debut as Andrea Cornaro in Caterina Cornaro with the Opera Orchestra of New York.

A graduate of the Metropolitan Opera's Young Artist's Development Program, the Ohio-born bass has appeared frequently with the company since his debut as the Jailer in Tosca during the 1992-1993 season. In 1995 and 1996, Mr. Aceto was awarded Richard Tucker Foundation Career Grants, and in 1994 he was a recipient of a Sullivan Foundation Award. In 1996, he traveled to Japan for performances and a recording of The Rake's Progress with Seiji Ozawa conducting. Mr. Aceto can also be heard in the role of Capellio in Teldec's recording of I Capuleti e i Montecchi.

 

back to top

Photos

back to top

Reviews

"Raymond Aceto gestaltet die Partie der einzigen historisch belegten Figur in dieser Geschichte mit fulminantem Bass und macht die Kompromisslosigkeit dieses Widerstandskämpfers auch darstellerisch glaubhaft. Raymond Aceto plays the role of the only historically-documented figure of the opera with his brilliant bass and makes the unwillingness to compromise of this resistance fighter also theatrically credible."

Online Musik Magazin von Thomas Molke (Les Vêpres Siciliennes at Oper Frankfurt)

"Raymond Acetos Procida ist ein Verschwörer: Das gibt schon vom ersten Ton an sein bedrohlich tiefschwarzer Bass zu erkennen."

by Andreas Bomba for Frankfurter Neue Presse (Les Vêpres Siciliennes at Oper Frankfurt)

"Bass Raymond Aceto as the High Priest Zaccaria reached his peak with a beautifully sung invocation to God, accompanied with melting tone by the orchestra’s cello section. Aceto is a real bass, with a distinctive low voice that has both a pleasantly buzzing edge and a focused center."

Nabucco at San Diego Opera, Union-Tribune San Diego, Marcus Overton

"Such was the impact of Raymond Aceto's powerful, pathologically evil baron that he could have carried the night on his own. The varying colors of Aceto's bass and the nuances of his acting brought realism and depth to the character."

Opera News

"Another powerful performance is Raymond Aceto as Sparafucile. His deep bass voice makes him an intimidating player in this revenge opera."

Rigoletto at Dallas Opera, The Daily Campus, Lauren Smart

back to top

Discography