Named a “standout…whose sound was warm and rich” by Anne Midgette in the Washington Post, bass Patrick Guetti will return to Lyric Opera of Chicago in the 2018 – 2019 season as Fafner in the David Pountney production of Siegfried, conducted by Sir Andrew Davis. Mr. Guetti also returns to Opera Philadelphia as Snug in Britten’s A Midsummer Night’s Dream conducted by Corrado Rovaris. As a member of the Filene Artist Program at Wolf Trap Opera, Mr. Guetti sings Sparafucile in Rigoletto with Grant Gershon conducting the National Symphony Orchestra, as well as a live recording of Bernstein’s Songfest which will be released on Naxos.
The 2017 – 2018 season saw Mr. Guetti’s final year as a member of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago with roles including the Mandarin in Turandot, and cover assignments including Sparafucile in Rigoletto, Hunding in Die Walküre, Timur in Turandot, and Gualtiero in I Puriatni. Mr. Guetti was also seen in recital with Nicole Cabell and Mario Rojas as part of the Harris Theater’s Beyond the Aria series.
In the summer of 2016, Mr. Guetti made his debut with the Glyndebourne Festival as the Nightwatchman in a revival of the David McVicar production of Die Meistersinger von Nürnberg, as well as covered the role of Basilio in a new production of Il barbiere di Siviglia. He also joined the Los Angeles Philharmonic for a concert performance of Tosca as Sciarrone, conducted by Gustavo Dudamel, at the Hollywood Bowl.
Operatic roles at Lyric Opera of Chicage include Police Commissioner in Der Rosenkavalier conducted by Edward Gardner, 2nd Armed Man in Die Zauberflöte, Zaretsky in the Robert Carsen production of Yevgeny Onegin, and a Greek Captain in Les Troyens, his company debut with Opera Philadelphia as José Tripaldi, in Golijov’s Ainadamar, his company debut with Dallas Opera in Francesca Zambello’s production of Salome as Fifth Jew and Commendatore in Don Giovanni with Martina Arroryo’s Prelude to Performance program. Additional roles at Lyric Opera of Chicago include covering Bartolo in Le nozze di Figaro, First Apprentice in Wozzeck, Fyodorov in Bel Canto, High Priest in Nabucco, and Laurent in Roméo et Juliette.
As an apprentice at Santa Fe Opera, Mr. Guetti was featured as Leggatt in the world premiere of Theodore Morrison’s Oscar, as well as featured roles in Fidelio and the American premiere of Dr. Sun Yat-Sen. While studying at the Academy of Vocal Arts in Philadelphia, his roles included the title role in Don Quichotte, Prince Gremin and Zaretsky in Yevgeny Onegin, Don Basilio in Il Barbiere di Siviglia, Tom in Un Ballo in Maschera, Arkel in Pelléas et Mélisande, and Crespel and Wilhelm in Les Contes d’Hoffmann.
Honors and awards include a 2014 grand prize winner of the Metropolitan Opera National Council Auditions, 2014 Sarah Tucker Grant from the Richard Tucker Foundation, first prize in the Gerda Lissner competition in 2015, Audience Favorite Award at the Giargiri Bel Canto Competition in 2013, and First Prize in the Prémio “Verdi” competition.
“The standout was the bass Patrick Guetti, whose sound was warm and rich as he negotiated “To What You Said,” a setting of a Walt Whitman poem that dances around the idea of homosexuality, Bernstein’s most personal and authentic moment in the whole cycle.”
“The tall, handsome bass Patrick Guetti, alumnus of Washington’s own Catholic University of America, brought a menacing tone to the assassin Sparafucile, with shadowy low notes.”
Charles T Downey
“Patrick Guetti … seemed completely at home on the Met stage, especially in his gravely compelling account of “Il lacerato spirito,” from Verdi’s “Simon Boccanegra,” a father’s lament.”
“His striking, granitic bass carried the day, and he sang “Il lacerato spirito” from Verdi’s Simon Boccanegra stylishly, down to the sepulchral low notes. He appeared decidedly more relaxed in Rossini’s “La Calumnia” from Il Barbiere di Siviglia, during which he used his long limbs and long hands to fine comic effect.”
“His rendition of Fiesco’s aria “Il lacerato spirito” from Verdi’s SIMON BOCCANEGRA was full-bodied, effortless and haunting. Guetti then turned the tables by choosing Don Basilio’s broadly comic–yet threatening–“La calunnia” from Rossini’s IL BARBIERE DI SIVIGLIA and tearing up the stage.”