Anthony Roth Costanzo

Counter Tenor

Biography

Countertenor Anthony Roth Costanzo continues to build his reputation as one of the rising stars of the next generation of singers.

This season, Mr. Costanzo makes his debuts at the San Francisco Opera in Partenope, Teatro Real in Death in Venice, and the English National Opera in The Indian Queen. He will also be presented in recital in New York by the George London Foundation and in Princeton by Princeton University Concerts.

Mr. Costanzo’s other recent opera engagements have included Rodelinda, The Enchanted Island, and Die Fledermaus at the Metropolitan Opera;  his debut at the Glyndebourne Festival as Eustazio in Rinaldo,  Semele at the  Canadian Opera Company,  the title role in Tolomeo,  the Sorceress in Purcell’s Dido and Aeneas, and staged performances of Pergolesi’s Stabat Mater  at the Glimmerglass Festival; the title role in Orfeo ed Euridice at the Palm Beach Opera, Armindo in Partenope at the New York City Opera, Tolomeo in Giulio Cesare at the Michigan Opera Theater, Ottone in Agrippina at the Boston Lyric Opera, the US premiere of Henze’s Phaedre at the Opera Company of Philadelphia, a guest appearance as Oberon in Britten’s A Midsummer Night’s Dream with the Seattle Opera’s Young Artists Program, and the title role in Manhattan School of Music’s main stage production of Lucas Foss’ Griffelkin. In 1994, he performed in Amahl and the Night Visitors at Lincoln Center and with the Opera Company of North Carolina, made a critically acclaimed debut with the New Jersey Opera Festival as Miles in Britten’s The Turn of the Screw, and appeared with Luciano Pavarotti in Philadelphia at the Academy of Music’s Opera Extravaganza. He also recently had the honor of appearing as a special guest artist in a traditional Kabuki production of The Tale Genji in Kyoto.

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Reviews

“Judged on purely vocal terms, Costanzo easily qualifies as a first-rate talent: his countertenor is strikingly expressive, with a sparkling soprano colour and spin to its sound.”

Opera news

“This was not just perfectly placed vocalism, it was edge-of-your-seat drama, the kind of high-voltage, high-register male singing that comes once in a generation.”

Musical America

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