Born in Rome, Emanuele D’Aguanno studied at the Pedrollo Conservatory in Vicenza and with William Matteuzzi.
He has recently sung Edgardo ‘Lucia di Lammermoor’ at the Teatro Massimo Bellini in Catania, Beppe ‘Pagliacci’ at the Teatro Petruzzelli in Bari, Fenton ‘Falstaff’ in Buenos Aires at Teatro Colon and Alfredo ‘La Traviata’ with Glyndebourne and at the Shanghai Festival of Arts. He has performed Arturo ‘Lucia di Lammermoor’ at the Bayerische Staatsoper in Munich conducted by Kiril Petrenko, at the Maggio Musicale Fiorentino and at the Teatro Massimo in Palermo. Nearco ‘Poliuto’ at the Glyndebourne Festival, Alfredo ‘La Traviata’ and Giocondo ‘La pietra del Paragone’ at the Teatro Lirico in Cagliari and Arturo ‘La Straniera’ at the Teatro Massimo Bellini in Catania, ‘Il ritorno di Ulisse in patria’ (Giove and Anfinomo) at Teatro alla Scala in Milan conducted by Rinaldo Alessandrini, Cassio in Verdi’s ‘Otello’ at the Canadian Opera Company.
2019/2020 sees him busy with Don Ottavio ‘Don Giovanni’ at the Royal Opera House Covent Garden, Teatro San Carlo and Dubai Opera, Camillo de Rossilion in Lehar’s ‘Die Lustige Witwe’ for Teatro Massimo Bellini di Catania and Centre for the Performing Arts Beijing, Hasse’s ‘Piramo e Tisbe’ with Europa Galante at the Theater an der Wien, Rossini’s ‘Petite Messe Solennelle’ for Perugia Musica Classica, La Fiera di Venezia, Festival di Schwetzingen, Publio in Mozart’s ‘Il Sogno di Scipione at Teatro La Fenice Venice and Ernesto ‘Don Pasquale’ for Staatstheater Augsburg.
Mr D’Aguanno has recorded the Italian songs of Bellini, Donizetti and Rossini for Capriccio and ‘La scuola de gelosi’ of Salieri for Sony and others projects with Dynamic, Opus Arte, Bongiovanni e Naxos.
“..an excellent Emanuele D’Aguanno, at ease in the role of Arturo both from a scenic and vocal point of view thanks to a particular attention to phrasing and dynamics. His attack by the cantabile of the duet with Alaide of the first act, Ah! If you want to escape, while he has deployed his interesting vocal medium in heroic steps like the duel through a curated release.”
”Taking no prisoners in his good-natured but uncompromising siege on the Count’s music, tenor Emanuele D’Aguanno gives unexpected depth and importance to a character who could all too easily be played as an arrogant, dim-witted fop. A noted master of bel canto, D’Aguanno traces the elegant line of the Conte’s Act One cavatina, ‘A me par che il mondo sia di ragazze d’ogni sorte,’ with natural grace. In the terzetto with the Contessa and il Tenente, the tenor’s voicing of ‘Eh via, saggia Penelope, non siate sì feroce’ emits a charge of satirical electricity: one can almost see the Conte rolling his eyes in bemused annoyance. In the aria ‘Chi può vedere oppresso un idolo d’amor,’ D’Aguanno’s technical prowess is put to use with astonishing fluidity. Here, too, in music through which otherwise capable singers might stammer, D’Aguanno’s bel canto training yields a performance of wondrous confidence. This alone heightens the nobility of the singer’s portrayal of the Conte. Joining with his Contessa in the Act Two duettino, this Conte delivers ‘Quel visino è da ritratto’ with the futile virility of a wasp trapped in honey. The aria ‘Più sereni quegli occhi volgete’ is sung with unapologetic romanticism, D’Aguanno again making magic with his negotiation of the vocal line. D’Aguanno is an expressive, communicative singer who deserves greater global recognition, and his performance on this recording is a compelling exhibition of his abilities…”