Gaston Rivero, tenor
Tenor

Gaston Rivero

Website
Represented By:

Michael Morelli
mm@crescendiartists.com
+45 21 95 28 28

Ole Justesen
oj@crescendiartists.com
+45 21 85 58 60

INTRODUCTION

Hailed as a “remarkable Spinto tenor” Gaston Rivero is worldwide recognized for his dynamic stage presence, dark timbre and wide range of flexibility.

RECENT AND FUTURE HIGHLIGHTS

Future engagements include:

  • Calaf/Turandot, the title role in Otello and Mario Cavaradossi/Tosca at Teatro Petruzzelli di Bari;
  • the title roles in Verdi’s Don Carlo & Otello at Aalto Musiktheater Essen;
  • Radames/Aida at Czech National Opera House;
  • Manrico/Il Trovatore, Ismaele/Nabucco and Pinkerton/Madama Butterfly at Oper Leipzig.

Recent engagements include among others:

  • Don José/Carmen at Teatro Bellini di Catania;
  • Dick Johnson/La Fanciulla del West, Rodolfo/La Boheme, Don José/Carmen, Mario Cavaradossi/Tosca and the title role in Don Carlo at Oper Leipzig;
  • Calaf/Turandot at Teatro Verdi di Padova.

BIOGRAPHY

During the 2002-2003 season Gaston Rivero joined the ensemble of the Baz Luhrmann’s production of Puccini’s La Boheme on Broadway in New York City.

Company credits include Manrico in Il Trovatore, the title role in Don Carlo, Gabriele Adorno in Simon Boccanegra and Macduff in Macbeth at Staatsoper Berlin; Radames in Aida at Opéra National de Paris Bastille, Arena di Verona, Théâtre Royal de La Monnaie Bruxelles and The Royal Opera House Muscat, Calaf in Turandot at Teatro Regio Torino, Ismaele in Nabucco at Opera de Monte Carlo, Mario Cavaradossi in Tosca at Oper Leipzig, Turiddu in Cavalleria Rusticana, Don Jose in Carmen and Rodolfo in La Bohème at Deutsche Oper Berlin, Don Jose in Carmen at New National Theater Tokyo, the Singer in Der Rosenkavalier at Grand Théâtre de Genève, Ismaele in Nabucco at Teatro Massimo di Palermo, Des Grieux in Manon Lescaut at Teatro Filarmonico di Verona, the title role in Otello at Aalto Musiktheater Essen, Rodolfo in Luisa Miller at Staatstheater Stuttgart, the title role in Faust and Romeo et Juliette at the Israeli Opera Tel Aviv, Don Jose at Teatro Verdi di Trieste, Manrico in Il Trovatore at Opera Ostfold Norway.

Gaston Rivero worked with Regie and film directors Baz Luhrmann, Philipp Stölzl, Johannes Schaaf. His career began in earnest when his early mentor the conductor Eugene Kohn recognized his talent, trained him privately and helped launch his career. Since then Gaston Rivero collaborated worldwide with renowned conductors such as Daniel Barenboim, Zubin Mehta, Ulf Schirmer, Daniel Oren and Gianandrea Noseda.

AUDIO & VIDEO

Gaston Rivero – Aida by G. Verdi – Celeste Aida (Le Concert des étoiles Hommage à Verdi)

Gaston Rivero and Maestro Richard Cock – Turandot by G. Puccini – Nessun dorma (RMB Starlight Classics)

Gaston Rivero – Faust by C. Gounod – Salut demeure chaste et pure

Gaston Rivero – Carmen by G. Bizet – La fleur que tu m’avais jetée – Catania, Feb 2020

Gaston Rivero – Il trovatore by G. Verdi – Di quella pira (RMB Starlight Classics)

Gaston Rivero – Aida by G. Verdi – Celeste Aida – Arena di Verona Edizione Storica 1913

Gaston Rivero, Ludovic Tézier – Don Carlos by G. Verdi – Dio, che nell’alma infondere amor

REVIEWS

Carmen by G. Bizet at Teatro Massimo Bellini, Catania – Feb 2020

“La miglior sorpresa della serata è stato il don José di Gaston Rivero, che punta sulla schiettezza di un bel timbro da lirico e, nell’aria, azzarda anche alcune meditate, suadenti mezzevoci; dovrà ancora perfezionare una presenza scenica non sempre credibile, così come un gioco di dinamiche ancora da definire.”

– Giuseppe Montemagno,  connessiallopera.it

Butterfly’s castle: Puccini soars at Savonlinna – Jul 2018

“The Pinkerton of Gaston Rivero makes a noble sound for such an ignoble figure, his ringing head notes helped by the spacious reverberance of the acoustic. He was powerfully ardent in the love duet…”

– Roy Westbrook,  bachtrack.com 

Otello by G. Verdi at Aalto-Musiktheater Essen – Feb 2018

“Gaston Rivero lotet das in der Hauptrolle nicht nur gesanglich perfekt und kraftvoll aus, sondern auch optisch mit bodygebuildetem, nacktem, stellenweise blutverschmiertem Oberkörper.”

– Peter Bilsing,  deropernfreund.de  

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