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Michael Fabiano

Michael Fabiano

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
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano
Michael Fabiano

Born in Montclair (New Jersey), this tenor of Italian descent attended the University of Michigan and the Academy of Vocal Arts in Philadelphia. He was the recipient of the 2014 Beverly Sills Artist Award and the 2014 Richard Tucker Award, Mr. Fabiano is the first singer to win both awards in the same year.

Of his important performances, he has sung Don José in Carmen at the Festival d’Aix-en-Provence with direction by Dimitri Tcherniakov, the title role of Poliuto at the Glyndebourne Festival and his debut as Calaf in Turandot with direction by Ai Weiwei in Rome. He has also performed extensively at the Metropolitan Opera, the San Francisco Opera, the Teatro Real of Madrid, the Berlin Staatsoper, the Teatro Liceu, the Vienna Staatsoper, the Lyric Opera of Chicago, the Royal Opera House in London, the Teatro alla Scala in Milan, the Teatro San Carlo in Naples, and the Paris Opera.

Recently he was Calaf in Turandot and Des Grieuf in Massenet Manon at the Gran Teatre del Liceu in Barcelona, ​​Pinkerton in Madama Butterfly at the San Francisco Opera, Don Jose de Carmen at the Metropolitan Opera and the Vienna Stastsoper, and Rodolfo in Luisa Miller at the Teatro San Carlo in Naples.

Michael is one of the founders of ArtSmart, a non-profit organization that provides tuition-free music lessons with professional artist mentors to young people in under-resourced communities across the US. School by school, student by student, lesson by lesson, his foundation is changing the musical landscape for kids.

He is also Chief Strategy Officer for Resonance, a social commerce platform that provides creative professionals and organizations with the mechanism streamline operations, modernize financial systems, and grow their business.

In his spare time, Michael’s main hobby is flying small planes. He’s an instrumented rated pilot. He flies any chance he gets.

 

General Management

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

Logistics

Stefania Ramacciotti
Via Romana 578/B 55100 Lucca, Italy
+39 3479762848
sramacciotti@gmartandmusic.com

Reviews

“Tenor Fabiano boasts the clean musicianship of his American training, and an innate sense of Italian line unaffected by mannerism. He made Puccini into heroic bel canto that fully satisfies verismo. Mr. Fabiano is a natural actor, his moves at once incorporating the physicality of singing with the emotive enthusiasms of a young poet.”
Michael Milenski, Opera Today

“If there is a star of this show, it is the tragic Lensky of the RO debutant Michael Fabiano, now singing meaty Verdi and Puccini roles around the world, but here demonstrating exquisite control in the pianissimo reprise of his big solo before the duel scene. I can’t think of a Lensky at Covent Garden who has held the audience so spellbound in 40 years of Onegin-going — possibly the great Nicolai Gedda in the late 1970s — but Fabiano has youth on his side. A glorious debut.”
The Sunday Times

“Michael Fabiano’s heartrending Lensky is out of this world.”
Michael Church, The Independent

“Faust is sung by the American tenor Michael Fabiano in a voice of astonishing lucidity”
Time Out Sydney

“And then there’s American tenor Michael Fabiano as Faust. Fabiano is clearly headed for great things, a magnetic stage presence, convincing in all his myriad guises. His voice is huge and, if anything, it feels like he holds back, hitting the top notes with relative ease but not giving every note full weight. Vocally, his performance grows in intensity and richness towards the end of the opera, but even at the climax I suspect he has plenty in reserve. Watch this space.”
Harriet Cunningham, Sunday Morning Herald