“The young Canadian tenor Antonio Figueroa was making his Avignon debut and his debut in the role of Nadir as well. It will be interesting to follow his development to be sure, but even now he displays a vocally luminous quality and a natural sense of the musical phrase, particularly in the romance ‘Je crois entendre encore’. His French diction is perfect and perfectly comprehensible, a major advantage in this genre of the repertoire.”
La Voix du Midi, Robert Pénavavre
Appreciated for his deep musicality, Antonio Figueroa recently completed a world wide tour of Peter Brook’s A MAGIC FLUTE singing Tamino culminating in performances in New York under the aegis of Lincoln Center. Winner of multiple awards and prizes, the young Montrealer was honored with the Silverman prize for his remarkable interpretation of Belmonte (DIE ENTFÜHRUNG AUS DEM SERAIL) at the International Vocal Art Institute (IVAI) in Tel-Aviv. Mr. Figueroa was featured in the Québec performances of ‘Starmania’, NORMA and DAS RHEINGOLD for Orchestre symphonique de Montréal and has also toured in LA VEUVE JOYEUSE for Jeunesses musicales du Canada.
The 2013-2014 season began in Washington DC with Opera Lafayette and then continued in Montreal for performances of FALSTAFF as Fenton. Further highlights of this season include a MESSIAH for the Edmonton Symphony and Mozart’s REQUIEM for the Columbus Symphony. Highlights of the past season included Ferdinand in Robert LePage’s staging of Thomas Adès’ THE TEMPEST at Festival l’Opéra de Québec and as Pâris in LA BELLE HÉLÈNE with Théâtre du Capitole de Toulouse. He also sang the MOZART REQUIEM with the Winnipeg Symphony. His 2011-2012 season included MESSIAH for I Musici de Montreal and Beppe in PAGLIACCI for Opera Lyra Ottawa, Rossini’s PETITE MESSE SOLONELLE with the Taiwan National Choir, and Fenton in FALSTAFF for L’Opera de Quebec and Opéra de Lausanne.
Mr. Figueroa debuted at Ottawa’s National Arts Centre in “Opera under the Stars”, and during the 2009-2010 season was scheduled for Tamino in DIE ZAUBERFLÖTE for Opera Lyra Ottawa, CAPULETTI E I MONTECCHI in Tours, a reprise of L’AMANT JALOUX at Versailles, Laerte in Thomas’ HAMLET in Metz and Ferrando in COSI FAN TUTTE for Pacific Opera Victoria. During 2008-2009, he appeared as Nadir in LES PECHEURS DE PERLES for l’Opéra de Montréal, as Beppe in PAGLIACCI for L’Opéra de Québec and was featured in COSI FAN TUTTE, FRA DIAVOLO, LA TRAVIATA and IL BARBIERE DI SIVIGLIA in France and Belgium. In concert he appeared with Les Violons du Roy (Charpentier), the Montreal Symphony (Messiaen) the Oratorio Society of New York (Bach’s Mass in B Minor) and the San Antonio Symphony (MESSIAH).
In 2007-2008 he sang Nemorino in L’ELISIR D’AMORE in Tours and was heard in Toulon as Tybalt in ROMEO ET JULIETTE. He sang MESSIAH for the Grand Philharmonic Choir of Kitchener and the Bach Elgar Choir of Hamilton, Bach’s ST JOHN PASSION in Montréal and Sharpe’s PROUD MUSIC OF THE STORM with the Washington Chorus in D.C. For L’Opéra de Montréal, he appeared in TABARRO and LA TRAVIATA and as Ecclitico in L’Atelier Lyrique’s production of Haydn’s IL MONDO DELLA LUNA. Also on his schedule were performances of Schubert’s DIE SCHÖNE MÜLLERIN in concerts for Les Jeunesses Musicales du Canada.
The multi-lingual tenor starred as Quint in L’Atelier Lyrique’s production of TURN OF THE SCREW and was heard as Herisson de Porc Epic in the Montréal Opera’s production of Chabrier’s L’ÉTOILE. He sang Ferrando (COSI FAN TUTTE) for IVAI in Tel Aviv and appeared as Nemorino (ELISIR D’AMORE) for Festival di Musica da Camera in Italy. He was also part of TechnOpera’s productions of DON PASQUALE, CARMEN and L’ÉTOILE in collaboration with the Society for Arts and Technology and has appeared for Les Escales Improbables, Les Journées de la Culture and he was Chef d’expedition in L’ARCHE, an opera for children composed by Isabelle Panneton, a creation of Le Festival des Coups de Théâtre, co-produced with le Nouvel Ensemble Moderne.
A Desmarais Foundation award winner, Antonio Figueroa completed a Master’s Degree at Montréal University where he performed as Rinuccio (GIANNI SCHICCI) and Le Chevalier de la Force (DIALOGUES DES CARMÉLITES).January 2014
PLEASE DESTROY ALL PREVIOUSLY DATED MATERIAL. MODIFIED VERSIONS MUST BE APPROVED BY DEAN ARTISTS.
|Bizet||Nadir||LES PÊCHEURS DE PERLES|
|Britten||Quint||THE TURN OF THE SCREW|
|Chabrier||Hérisson de Porc-épic||L’ÉTOILE|
|DIE ENTFÜRUNG AUS DEM SERAIL
COSI FAN TUTTE
|Rossini||Comte Almaviva||LE BARBER DE SEVILLE|
|Strauss, R.||Officier||ARIADNE AUF NAXOS|
|Bach, J.S.||Johannes Passion|
Mass in C minor
|Rossini||Petite messe solennelle|
|Sharpe, C.||Proud Music of the Storm|
Bach-Elgar Choir, Hamilton
Grand Philharmonic Choir
International tour of Peter Brook's "A Magic Flute"
New York Oratorio Society
Opéra de Liège
Opéra de Massy
Opéra de Montréal
Opéra de Tours
Festival di Musica da Camera (Pescara, Italy)
International Vocal Arts Institute, Tel Aviv
Taiwan National Choir
Violons du Roy
Washington Chorus, D.C.
“Très attendu, le jeune ténor canadien Antonio Figueroa, récemment remarqué en Avignon dans L'elisir d'amore, confirme tous les espoirs places en lui: moyens affirmés, musicalité raffinée, nuances parfaitement assumes font délirer le public dans l’incontournable “Una furtiva lagrima”. L’acteur, juvenile et séduisant, convainc tout autant.”
“The young Canadian tenor Antonio Figueroa, recently seen in Avignon in L'elisir d'amore confirmed all the hopes placed in him: confidant manner, refined musicality, and a perfectly nuanced performance leading up to the famous aria “Una furtiva lagrima”. As an actor he gave a charming and convincing performance.”
“Antonio Figueroa, un membre de l’Atelier lyrique de l’Opéra de Montréal, a su charmer son auditoire avec un fragment des Pêcheurs de perles. À vrai dire, la sale était suspendue à ses lèvres”
“The young Canadian tenor Antonio Figueroa was making his Avignon debut and his debut in the role of Nadir as well. It will be interesting to follow his development to be sure, but even now he displays a vocally luminous quality and a natural sense of the musical phrase, particularly in the romance “Je crois entendre encore.’ His French diction is perfect and perfectly comprehensible, a major advantage in this genre of the repertoire.”
“Cet élève de l’Atelier Lyrique de l’Opéra de Montréal possède une très jolie voix et un remarquable sens des nuances, deux qualities qui font merveille dans sa Romance.”La Voix du Midi – Robert Pénavavre