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Francesco Demuro

Francesco Demuro

Tenor GM ART & MUSIC
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GM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSICGM ART & MUSIC
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro
Francesco Demuro

Francesco Demuro was born in Porto Torres, Sardinia, in January 1978. Between 2003 and 2004 he studied at the Conservatory in Sassari, then he enrolled himself as a private student at the Conservatory in Cagliari, where he received lessons by soprano Elisabetta Scanu.

His 2007 debut in Parma with Luisa Miller was a great success both for the critics and the audience and he received invitations from some of the most important Italian and foreign opera houses. Between 2007 and 2009 he sang Luisa Miller again in Sassari, and he debuted in Turin with Rigoletto, that he also sang in Hong Kong in a tournée with Teatro Regio di Parma. Further highlights of those seasons include Simon Boccanegra at the Megaron in Athens, Rigoletto in Dresden conducted by Fabio Luisi and at Festival Verdi in Parma, and La Bohème in Bari. He obtained great reviews from public and critics for his Spanish debut in Roberto di Devereux in Las Palmas and he sang La Traviata at Teatro Municipal in Santiago (Cile) and Rigoletto in Beijing, in tournée with Teatro Regio di Parma. 

In October 2009 he made his debut in the USA singing La Traviata at Seattle Opera to great acclaim, and then he obtained a huge personal success at Suntory Hall in Tokyo with Così Fan Tutte. Further highlights include La Traviata in Valencia with M° Maazel, Lucia di Lammermoor in Hamburg and Warsaw, La Traviata and Der Rosenkavalier in Dresden, L’Elisir d’Amore at La Scala in Milan (debut), La Bhoème in Detroit, Maria Stuarda in Athens, L’Elisir d’Amore and La Bohème at Wiener Staatsoper, a new production of Rigoletto at Wiener Festwochen directed by Luc Bondy.

In summer 2011 he obtained great reviews from public and critics at Arena di Verona, where he opened the summer season singing La Traviata. His subsequent debut at the Royal Opera House in London with Gianni Schicchi conducted by M° Pappano was a huge success, and they invited him again to sing Alfredo in La Traviata.

The season continued with La Traviata at Berlin Staatsoper, in Limoges and at Wiener Staatsoper, Falstaff in Verona, Rigoletto in Hamburg, Don Pasquale at Théâtre des Champs-Élysées, Macbeth in Munich.

Highlights in the recent seasons included the debut at the Metropolitan Opera in New York as Alfredo in La traviata and Rodolfo in La bohème; Rigoletto, Così Fan Tutte and Falstaff in San Francisco with M° Luisotti; La Traviata at Berlin Staatsoper, Munich Opera, Oper Frankfurt, at the Royal Opera House in London, at Opéra Bastille, at La Fenice in Venice, at Teatro Real de Madrid, at Liceu in Barcelona and at Arena di Verona, as well as in Las Palmas, Bari and Cagliari; Don Pasquale in Verona, Falstaff at La Scala, La Bohème and Rigoletto in Seattle, Maria Stuarda in Bilbao and at the Champs Elysées in Paris, Rigoletto at Puccini Festival in Torre del Lago, at Teatro Real in Madrid and in Tokyo in tournée with La Scala with M° Dudamel, Roméo et Juliette at Arena di Verona and in Seoul, La Bohème in Frankfurt, Rigoletto

La traviata and Der Rosenkavalier at Opéra Bastille, L’elisir d’amore in Muscat in tournée with La Fenice, Lucia di Lammermoor in Ancona. 

On the concert platform, he performed Mozart’s Requiem in Verona, Verdi’s Requiem with the Houston Symphony and with Accademia Nazionale di Santa Cecilia, Rossini’s Stabat Mater at Palace of the Arts in Budapest, Rossini’s Petite Messe Solennelle with the Staatskapelle Berlin, the traditional New Year’s Concert at Teatro La Fenice.  

The recent seasons saw Mr. Demuro perform worldwide: in Europe at Deutsche Oper Berlin and  at Teatro Filarmonico in Verona (L’elisir d’amore), Teatro di San Carlo (La bohème, La traviata),  Opéra de Monte Carlo (Maria Stuarda), Teatro alla Scala (Falstaff, also in tournée to Astana),  Teatro La Fenice (Lucia di Lammermoor), Berlin Staatsoper (Les pêcheurs de perles, Falstaff, Medea), Opéra de Paris (Falstaff, Simon Boccanegra, I puritani), Oper Köln and Comunale di Bologna (La Bohème, “Premio Abbiati” as best operatic show in 2018), Maggio Musicale Fiorentino (La traviata, Linda di Chamounix), Savonlinna Festival in tournée with Teatro Real, Palace of the Arts in Budapest and Oper Frankfurt (I puritani), Modena, Piacenza and Reggio Emilia (Faust), Festival Verdi in Parma (Attila), Baden-Baden Festival (Cassio in Otello); in the USA at the Metropolitan Opera (Falstaff, Rigoletto); in the East at Shanghai Opera (La traviata), NCPA in Beijing (Roméo et Juliette, Les pêcheurs de perles) and Matsumoto Festival (Gianni Schicchi); in Australia, in concert with the Queensland Symphony Orchestra. 

Most recently, he sings Werther at the theatres in Modena, Ferrara and Reggio Emilia, and at Teatro Petruzzelli, a new production of Lucia di Lammermoor at Hamburg State Opera, a new production of La sonnambula at Théâtre des Champs-Élysées, La traviata at Tokyo Suntory Hall and Teatro di San Carlo, Le postillon de Lonjumeau at the Tiroler Festspiele, Rigoletto at Royal Opera House, Wiener Staatsoper and Greek National Opera, I puritani at Opera di Roma and Teatro Petruzzelli, Les pêcheurs de perles at Berlin Staatsoper. In concert, he performs Beethoven’s Ninth Symphony with Teatro Regio di Parma and Rossini’s Stabat Mater at the Concertgebouw.

Season 2022/23 sees his perform in I Capuleti e i Montecchi and Roméo et Juliette at Opéra de Paris, La sonnambula at Teatro Real, L’elisir d’amore at Wiener Staatsoper, La traviata at Hamburg State Opera, Werther at Greek National Opera, Rigoletto at Staatsoper Berlin. 

Most recently, he sang Médée at Teatro Real, Norma at Teatro de la Maestranza in Seville, La bohème at Teatro Lirico di Cagliari, and he made his role debut as Orombello in Beatrice di Tenda at Teatro Carlo Felice in Genoa. Concert appearances included Rossini’s Stabat Mater at Festival Ljubljana.

Upcoming plans include Maria Stuarda at Teatro di San Carlo, Lucia di Lammermoor at Teatro Bellini in Catania, La traviata in Athens, Don Giovanni at Teatro La Fenice, where he will also sing Beethoven’s Ninth Symphony, as well as Rossini’s Stabat Mater at Teatro Massimo di Palermo.

General Management 

Gianluca Macheda
Grzybowska 43a, lok. 72 00-855
Warsaw Poland
gmacheda@gmartandmusic.com

Logistics 

Martina Biagini
Via Romana 578/B 55100 Lucca Italy
+39 3479762848
mbiagini@gmartandmusic.com

Reviews

“I Puritani” di Budapest dal punto di vista musicale rappresanta un livello piú alto di quello della recita menzionata prima (La straniera al Theater an der Wien). Una produzione di belcanto di tal livello abbiamo avuto la fortuna di vederla solo, quando Edita Gruberova é venuta da noi in tournée. E non solo per le due signore nei panni d’Elvira (Jessica Pratt a Budapest, a Pécs anche Klára Kolonits ha cantato il ruolo) possiamo permetterci quest’affermazione. Ma anche per il tenore nel ruolo d’Arturo, Francesco Demuro. Possiamo dichiarare di aver sentito uno dei tenori migliori dei nosti tempi. E non solo per il Fa naturale in „Credeasi misera”, non perché ha fatto anche un RE naturale nella sua aria di chiusura, non solo per il suo fraseggio imparagonabile a quello di nessuno d’oggi, o perché il suo timbro é tanto bello — ma anche perché nella sua voce si percepiva anche quella tristezza, quella forza cupa di cui il carattere diventa interessante. Di cui „I Puritani” nonostante qualsiasi straniamento teatrale diventa un storia d’orrore dell’anima e un’opera atrocemente grande.”
Kolozsi László, Szinhaz.net 

“Come bravo, e molto, è Francesco Demuro nel viscontino Carlo, in un riuscito tentativo di evocare il tenorismo ottocentesco cantando piano e con dolcezza su tessiture molto elevate. Così la sua bella aria, «Se tanto in ira agli uomini», eseguita così è sembrata bellissima.”
Alberto Mattioli, La Stampa 

 

“Le caratteristiche tecniche di questo cantante sono una voce dal colore luminoso, che percorre il pentagramma senza cedimenti, grazie ad un centro solido, acuti potenti e squillanti, fiati notevolissimi. Quello che però colpisce, al di là della prestazione vocale e pirotecnica, è il sapiente studio della parola, il lavoro che lo porta a leggere e valorizzare il testo in modo profondissimo,  la capacità di costruire, anche solo attraverso una singola aria, personaggi a tutto tondo, credibili e coinvolgenti, il tutto nobilitato da una dizione chiarissima, che aiuta i presenti ad immedesimarsi nel canto.”
Gianluca Macovez, OperaClick

“En Duc de Mantoue, l’inflexion tendre, toute séduction, de Francesco Demuro met le public à ses pieds. Le chant s’appuie sur une technique sans faille, clairement héritée de la fréquentation du répertoire belcantiste, comme déjà son Edgardo de Lucia di Lammermoor le suggérait au printemps.”
Katy Oberlé, Anaclase 

“Francesco Demuro ringt gerne seine Hände gen Publikum oder Himmel, während er den Nadir auf die schönste, weil absolut authentische Weise singt, nämlich mit jener tenoralen Schlankheit, jenem Mut zur Kopfstimme im hohen Register, die man im Paris des 19. Jahrhunderts bei männliche Helden hören mochte. Es ist lobenswert, dass Demuro dieser Ästhetik nachspürt – auch wenn es heute die an kraftstrotzende Powertenöre gewöhnten Hörer verwirren mag.”
Frederik Hanssen, Der Tagesspiegel