Robert Gleadow is Mozart's Figaro of choice this season

Robert Gleadow (photo: Hugh Wesley)

Canadian bass-barihunk Robert Gleadow has become the Figaro of choice in Mozart's Le nozze di Figaro for many of the world's leading opera houses. He'll be singing the role at the Palau de les Arts Reina Sofia in Valencia from September 27-October 6. The cast will include Andrzej Filończyk as the Count, María José Moreno as the Countess, Sabina Puértolas as Susanna, Cecilia Molinari as Cherubino, Susana Cordón as Marcellina and Valeriano Lanchas as Bartolo. Tickets are available online.

He then takes the role to the Théâtre des Champs-Elysées in Paris from November 26-Decmeber 7 with fellow barihunk Stéphane Degout as the Count, the legendary Jennifer Larmore taking on Marcellina, Sabine Devieilhe as Susanna, Vannina Santoni as the Countess and Mathias Vidal as Basilio. Tickets are available online.

He then flies to the La monnaie in Belgium for more of Figaro from February 18-March 21 with fellow barihunk Björn Bürger as the Count, Simona Šaturová as the Countess, Alexander Roslavets as Basilio, Ginger Costa-Jackson as Cherubino and Rinat Shaham as Marcellina. The company is doing the entire "Mozart-Da Ponte" series this season, with Gleadow's Leporello making up a "barihunk trio" in Don Giovanni that includes Björn Bürger in the title role and Iurii Samoilov as Masetto. Samoilov also appears as Guglielmo in Così fan tutte. Tickets are available online.

Marie-Adeline Henry as Donna Elvira & Robert Gleadow as Leporello (Photo: Mats Bäcker)

In Bordeaux, it will be Gleadow who sings roles in each of the "Mozart-Da Ponte" operas in May 2020, taking on Leporello, Figaro and Guglielmo. Tickets and additional cast information is available online.

We asked Gleadow about the role of Figaro and he had this to say, "I'd say he's one of the most loveable characters in the operatic repertoire. He's big-hearted, hot-blooded, quick-witted, overconfident; who's easy to root for and wears his heart on his sleeve (when the Count is out of the room anyway....). We see the entire spectrum of emotion throughout his "Folle Journée". Happiness, love, naiveté, jealousy, anger, humour, finding his parents, winning the girl, and defeating a rival. A true jack of all trades!"

Robert Gleadow and Serena Malfi sing Così fan tutte

Robert Gleadow was born in Toronto and was a member of the Opera Studio of the Canadian Opera Company of Toronto and the Jette Parker Young Artist Programme of the Royal Opera House in London.

Mozart has played a big role in his career, having performed the aforementioned roles, as well as Publio in La clemenza di Tito and the Speaker in Die Zauberflöte.

He can be heard as Lorenzo in Bellini's I Capuleti e i Montecchi with Anna Netrebko on Deutsche Grammophon.

Steven LaBrie making Tulsa Opera debut as Figaro

Steven LaBrie as Figaro (courtesy Opera Hong Kong)

Barihunk Steven LaBrie will make his Tulsa Opera debut as the title character in Rossini’s “The Barber of Seville,” which opens the company’s 2018-2019 season on October 19th.

LaBrie is familiar with the opera, having first sung Fiorello at the Academy of Vocal Arts in Philadelphia and then making his professional debut as Figaro with the Lyric Opera Baltimore in 2015. He has also performed the role with Opera Hong Kong.

Steven LaBrie sings "A tanto amor" from Donizetti's La favorita:

He'll be joined in the cast by hunkentenor Aaron Blake as Almaviva, Sarah Coburn as Rosina and Peter Strummer as Dr. Bartolo.

Tickets are available online.

Upcoming performances for LaBrie include Donizetti's L'elisir d'amore with Opera Omaha on February 15 and 17 and Jake Heggie's Three Decembers with the San Diego Opera on March 8, 9 and 10 with Frederica von Stade.

David Pershall to make Met debut

David Pershall at The Met

David Pershall, who just wrapped up a successful run in the title role of Rossini's Il Barbiere di Siviglia at the Florida Grand Opera, will now make his house debut in the role at the Metropolitan Opera. His Rosina will be Ginger Costa-Jackson and Almaviva will be sung by Taylor Stayton. He'll perform the role on December 29th and January 1st, alternating the role with fellow barihunk Elliot Madore, who will perform with Isabel Leonard and David Portillo.

He'll be staying at the Met for three months, where he will also perform Schaunard in Puccini's La bohème and one performance of Lord Cecil in Donizetti's Maria Stuarda on February llth. In La bohème, Mimi will be sung by Maria Agresta, Musetta by Susanna Phillips, Rodolfo by Bryan Hymel and Marcello by Quinn Kelsey. The cast of Maria Stuarda includes Sondra Radvanvovsky and Elza van den Heever.

Pershall coming to New York from his new home base at the Vienna State Opera, where he has performed Figaro in Il Barbiere di Siviglia, Belcore in Donizetti's L’elisir d’amore, Sharpless in Puccini's Madama Butterfly and Sebastian in Adès' The Tempest. This summer he made his role debut as Rodrigo in Verdi's Don Carlo with Opera Burg Gars.

Time is running out to order your 2016 Barihunks Charity Calendar, featuring 18 of the sexiest men in opera. ORDER TODAY by clicking HERE (you won't regret it!).

Duncan Rock, Iurii Samoilov & Craig Verm

 

Luca Pisaroni featured in Opera Now

Luca Pisaroni (photo by Marco Borggreve)

Luca Pisaroni is featured in the new issue of Opera Now. The magazine has recently featured barihunks Dmitri Hvorostovsky and Christopher Maltman on the cover. This month Pisaroni didn't make the cover, as that went to the equally hunky tenor Juan Diego Florez. If you're an opera fan and don't read Opera Now,  you're missing a world of great opera writing, reviews and photos. We never miss and issue and travel with the iPad version of the magazine. Barihunks readers can get a free introductory offer by clicking on the link to the right and entering the code BAR12.

Here's a teaser from the article entitled "Leader of the Pack," which refers to Pisaroni's love of dogs and being a social animal:

Luca Pisaroni is shaping up to be one of the most successful baritones of his generation. He talks to Louise Flind about his growing recognition in major opera houses around the world, and how his trusty dogs help to keep him grounded.

There may be a handful of opera singers as tall, dark and handsome as Luca Pisaroni, but few are as adorable, funny and ambitious. He and his American wife Cate (petite, blonde and foxy, if you're asking) were at Glyndebourne last summer where Pisaroni stole the show in Robert Carsen's new production of Handel's Rinaldo. 

[Read the entire article by accessing your free trial offer].

Pisaroni can next be seen on April 29th in Heidelberg, Germany where he will be performing a gala concert with his father-and-law and fellow barihunk Thomas Hampson. The two singers will perform  arias and duets by Verdi, Rossini and Mozart. In May, he performs Figaro opposite the Count of barihunk Simon Keenlyside in Munich. In June, he performs the same role opposite Gerald Finley in Vienna.

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Introducing Borja Quiza

Borja Quiza

Spanish barihunk Borja Quiza was recommended to us our favorite way - by a fellow barihunk. In 2009, he won the "Opera Actual" prize as best lyric singer and a year later won the "Premio Lirico Teatro Campoamor de Oviedo" as best zarzuela singer. His claim to fame in his young career has been playing the title role in Carlos Saura's filmed production of Mozart's "Don Giovanni."



In a short period of time he has established a successful career throughout Spain, singing in Valencia, Bilbao, La Coruna, Arriaga, Madrid, Barcelona and Oviedo. He has performed many of the great leading baritone roles, including Figaro in "Il Barbiere de Siviglia," the Count in "Le Nozze di Figaro," Guglielmo in "Cosi fan tutte," Don Giovanni, Papageno in "Die Zauberflote," Marcello in "La Boheme" and Zuniga in Pearl Fishers. He has also made his mark as a rapidly emerging star in zarzuela. His upcoming schedule includes mostly Mozart and Rossini.



We look forward to seeing more of this gifted young singer in the future. If you know of someone who should be featured on this site, please let us know at Barihunks@gmail.com.

Borja Quiza

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David Adam Moore: Barber and Cuddler

David Adam Moore: Cuddler?

One of the hottest men in opera will soon be heating up the Pacific Northwest with his “Largo al factotum” in Rossini's "Barber of Seville" with the Seattle Opera. We've already blogged about David Adam Moore's upcoming Friday and Sunday performances, so we want you to know that on Saturday, January 8, from 1:00 to 4:00 p.m. at McCaw Hall you can hear him sing the famous aria at a free event.

The opera company is hosting “The Barber of Seattle,” which will feature live music and a trio of competitions pitting hair stylists, barbers, and hairy participants against each other for prizes.

Real-life barbers will race against the music to give a group of bearded participants the smoothest, closest shave; hairstylists will compete to see who can give hair models the best new hairdo; and five bearded and/or mustachioed men will present their facial hair in an attempt to capture the title of “Seattle’s Best Beard.” The competition starts at 2 p.m.

Professionals who would like to show off their skills in the hairstyling or close shave competitions should contact Justina Schwartz at justina.schwartz@seattleopera.org or (206) 676-5564.


Those who would like to compete for the title of “Seattle’s Best Beard” should contact Tamara Vallejos at tamara.vallejos@seattleopera.org or (206) 676-5559.

Those who would like a free haircut or shave from one of our stylists or barbers, log in to Facebook and upload a photo that shows off your facial or head hair on Seattle Opera’s page, including a caption that answers the question, “Why do you want to attend The Barber of Seville?”

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LA Times Interview With Daniel Okulitch: Travels With A Whip?

Photo by Anne Cusack - Los Angeles Times

Today's Los Angeles Times features a wonderful interview with barihunk Daniel Okulitch. Fans of this site should keep in mind that the Count Almaviva in this production is fellow barihunk Bo Skovhus [top photo]. For more information, visit the Los Angeles Opera website.

Sunday Conversation: Bass baritone Daniel Okulitch

By Irene Lacher, Special to the Los Angeles Times
September 12, 2010

Canadian bass baritone Daniel Okulitch, 34, returns to Los Angeles Opera in the title role of "The Marriage of Figaro," opening Sept. 26. It's his second engagement with LA Opera since his high-profile turn in the 2008 U.S. premiere of composer Howard Shore's "The Fly," directed by David Cronenberg, based on his 1986 science-fiction film.

I Googled you and the first thing that came up, even before your own website, was naked pictures of you from "The Fly."

I guess that's what gets the most hits. I suppose there are things I could do to change that within Google analytics, if I so desired. It's just not all that important to me. If people really want my website, they can find that information soon enough. But for whatever reason, that's what people click on, even two years after the show.

I guess you made quite a splash. How's that been for you?

The most comments I get on that are good-natured ribbing from colleagues. It's funny, but when I was in Paris for the opening, the whole fact that I was nude onstage for what, all of 30 seconds, maybe a minute? No one paid attention, because it was Paris. But suddenly I get to L.A. and the picture that's being put out there… It wasn't the only thing they talked about. They talked about the music and the performances, but the fact that I did the scene became the selling point and the definitive part of the show. It got my name out there and name recognition in this career is helpful. You do have to prove you can sing as well.

Oh, that. Operachic.com called you "a swaggering rock star" in "Don Giovanni" in New York. Do you think that opera singers have to bring the same kind of sexual bravado that rock musicians do to the stage to attract younger audiences?

I've seen various performances with the people touted as these sort of personas. It gets them in the door, but 20 rows back, no one can tell the difference. You really can't. What's interesting about that that if you tell someone you're going to see Erwin Schrott or Anna Netrebko and they're really hot and you tell them this enough times, even if they're sitting 50 rows back they're going to think, "Wow, I'm watching a really sexy, attractive person onstage." And their brain fills in what the eye is not catching. So it's a self-feeding loop; it's a snake eating its own tail. In the end, what's going to keep people coming back is if they have a satisfying dramatic musical experience.

Except the audiences are still graying.

It's a demographic truth that as people get older, they have more disposable income, they have more time, their tastes deepen and they become the core audience. They also become the people who donate more readily. So this has always been a truism of opera, at least in the 20th century in North America, that your audience will trend a little older. I think it's great when you can bring younger people into the audiences because they bring their own energy, and once you get an opera fan at a young age, they'll likely remain an opera fan for the rest of their lives.

You've performed a lot of classic and contemporary operas, singing the roles of Don Giovanni to Willy Wonka. Do you have a preference?

I don't think I do. The plan with my teacher and my managers was always that if I do a contemporary opera, like "The Golden Ticket" or "The Fly," immediately after, the best thing to do was a Mozart. Mozart is like a nice deep-tissue massage for the voice. It's therapy for the voice, if you're doing it correctly. It shows all of your flaws, so you're going to be made immediately aware of the bad habits that have crept in; it's like doing an X-ray on your voice, a nice little analysis of how you're singing. Then you're able to line things back up and sing in a noble, classic style, which is just healthy.

Contemporary music is often very angular, and most of the time it's in English, and it's easy to let bad habits creep in, and a lot of the time it's just more taxing on the voice. And also, there's the street cred thing: If you do a lot of contemporary opera, you start to get pigeonholed as someone who only does new works. But really your bread and butter is going to be your classic repertoire. So I like to keep a healthy balance between the premieres — the more modern things, which inevitably get maybe more attention and press — and things that reaffirm that I am someone who can handle the classical repertoire.

So how did Figaro become one of your signature roles? How does that happen?

That isn't something I claimed; it's something that's claimed for me. You do it a lot, and people see you do it and you get good press for it and word gets around. I was doing "The Fly" and Plácido [Domingo] said, "What else do you sing?" I said, "I do 'Figaro,' I do 'Don Giovanni.'" He said, "We're doing 'Figaro'; I'd like to hear you sing it." So I sang it for him [in New York]. And he said, "I think Los Angeles audiences need to hear you in something more classic."

And what do you do for playtime?

I feel like my life is playtime. Outside of opera, I have a lot of little hobbies, which are kind of odd and quirky. I was learning to crack a bullwhip this year. Cooking is a big passion of mine.

I didn't know bullwhipping was a hobby.

Oh, yeah. Learning to crack a whip, you'd better believe it. It's actually something I bought thinking it would be useful for a couple of roles. And I thought, this is kind of fun, and I learned the different cracks; it's rather challenging. So I travel with a whip. You're going to make that the headline, aren't you?

calendar@latimes.com

Copyright © 2010, Los Angeles Times

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Simon Bailey's Figaro

Simon Bailey is a new addition to the site and comes at the suggestion of a reader in Germany. He is currently performing as Figaro in "Le nozze di Figaro" at the Frankfurt Opera.

He was born in Lincoln, England and became a choral scholar at Clare College at Cambridge University. 

Bailey as Figaro in Frankfurt

Bailey has been part of the ensemble at the Frankfurt Opera for the last eight seasons. In addition to Figaro, he will be entertaining Rheinland audiences in Charpentier’s Médée,  Vivaldi's Orlando furioso, Berlioz’ Méphistophélès and Don Inigo Gomez/Sarvaor in Ravel’s L’heure espagnole/de Falla’s La vida breve.

Bailey began his career as a member of La Scala’s Opera Studio and won first prize at the 2004 Musica Sacra competition in Rome.


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Troy Cook's Revealing Debut

We can't think of a better way for a singer to debut on Barihunks than to reveal his total package. In the case of Troy Cook, we literally mean the total package. We always comment that Don Giovanni is the opera that just keeps cranking out the barihunks, but perhaps for those of you want to see ALL of your barihunks, Poulenc's Les mamelles de Tirésias might be the opera of choice. 

After we posted Gabriel Bermudez's full monty a reader alerted us to the fact that Troy Cook performed in the same production. He was also gracious enough to dig up this amazing photo. When Bermudez's photos were posted on our site, traffic increased 500% and rivaled the photos of Daniel Okulitch from The Fly in total hits. 

However, this site is dedicated to great singing, as well as pulchritudinous men. Clearly, Cook and Bermudez both fit the bill. 

American baritone Troy Cook is a former apprentice artist the Santa Fe Opera, student at the  Florida Grand Opera Studio and holds a Master of Music degree from the Eastman School of Music. He also studied voice with Bill Schuman.

We've included a couple of clips of Cook, including a performance of Marcello at the Florida Grand Opera’s La Boheme and a duet from Pagliacci with soprano Lotania Moore. Cook has also performed in a few Barihunks favorites, portraying Zurga in the Pearl Fishers and Mr. Flint in Billy Budd.






Cook is scheduled to perform Figaro in Kansas City and Zurga in Philadelphia in upcoming seasons. He is also scheduled to do a recording of Donizetti's music with Opera Rara in 2011. We look forward to seeing a lot more of this talented young singer in the future.

Review: Daniel Okulitch’s triumphant Figaro makes for must-see Mozart

[Nikki Einfeld and Daniel Okulitch; Photo by Tim Matheson, Vancouver Opera]

The Vancouver Sun singled out barihunk Daniel Okulitch's performance in the Vancouver Opera's current production of the "Marriage of Figaro." Here's what they had to say:

Okulitch’s Figaro is the stuff of greatness. He is still young enough to be completely right for the role, and his loose-limbed geniality makes him the irresistible focus of attention every second he’s on stage. When all Figaro’s brash confidence finally sours late in the day, Okulitch musters the dramatic reserve to pull it off with real psychological insight.

You can read the entire review HERE.

There are still four performances remaining. Visit the Vancouver Opera for ticket information and performance times.

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Figaro! Figaro! Figaro!

[Mariusz Kwiecien]


[Erwin Schrott with Isabel Bayrakdarian in L.A.]


Oops, not the Rossini Figaro. But if you're looking to see two of the hottest Figaro's in Mozart's classic opera, now is the time. Mariusz Kwiecien is at the Lyric Opera of Chicago and Erwin Schrott is at the Bayerische Staatsoper in Munich. Both of these barihunks are known for injecting sexuality into a role that in the hands of some baritones can be a little wooden.

Those attending the opera in Chicago get the added bonus of Kyle Ketelsen as the Count.

[Kyle Ketelsen with Danielle deNiese in Chicago]


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Luca Pisaroni: The Complete Package

[Photo by Marty Sohl]


There are a number of barihunks who as individuals are worth the price of admission. Simon Keenlyside, Mariusz Kwiecien and Erwin Schrott certainly come to mind as singers who look good, are great actors and are also amazing singers. There are lesser known barihunks like Kyle Ketelsen, Wes Mason, Kelly Markgraf and Randal Turner who we feel also deliver the complete package night in and night out. However, if there is one barihunk who probably already belongs in a class with Keenlyside, Kwiecien and Schrott it is Luca Pisaroni.

His recent video of Ercole that we featured is a tour de force and he may already be one of the ten best exponents of Mozart in the world today. Period. Here are three clips of this gifted young singer performing Mozart, so that you can judge for yourself. Few singers can bring these characters to life like Pisaroni and his vocal nuances are nothing short of phenomenal.

Apparently, opera houses are recognizing his gifts as a Mozartean, as his schedule includes a current run of Figaro in Amsterdam, Leporello at Glyndebourne this summer, Figaro in San Francisco this fall and then the Count in Houston early next year. If you can make it to any of these performances, we guarantee that you will be in for a real treat.

Luca Pisaroni sings Figaro's "Aprite un po' gli occhi"


Maite Beaumont as Dorabella and Luca Pisaroni as Guglielmo sing "Il cuore vi dono" from "Così fan tutte"


Luca Pisaroni sings Figaro's "Se vuol ballare"

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Kyle Ketelsen as Nick Shadow

We recently featured a post with Kyle Ketelsen talking about his upcoming performance in Robert Lapage's production of the Rake's Progress at Covent Garden. Here is a photo of Ketelsen in that production, where he is performing through February 10th. He then heads back to the United States to perform Mozart's Figaro at the Lyric Opera of Chicago.

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Random Barihunks: Forde, Prato & Turner

Here are three of our favorite barihunks, two Americans and an Italian.

The top photo is Tom Forde, who will be singing Mozart's title character in Figaro at the Tacoma Opera in February. He's a gifted young singer with a wonderful stage presence and we predict great things for him.

The center photo is Italian barihunk Vittorio Prato who will be singing Massimo in Handel's Ezio next month at the Théâtre des Champs-Élysées in Paris. We think he's one of the hottest singers in Europe right now and really wish that someone in the U.S. would engage him.

Finally, there's Randal Turner who is a favorite on this site and the winner of our "Hottest Don Giovanni" competition in a landslide. He's singing Konrad Nachtigall in Die Meistersinger von Nürnberg at the Staatstheater Darmstadt. Turner is another barihunk who we'd like to see singing more in the United States.

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Mario Caria Makes U.S. Mainstage Debut in Cincinnati

You have to give the Cincinnati Opera some credit. First, their recent Le Nozze di Figaro featured Barihunks favorite Teddy Tahu Rhodes, then they follow it up with American mainstage debut of Mario Caria. Caria, by the way, also made his U.S. debut at the Cincinnati May Festival. Maybe it's Cincinnati's famous chili, but whatever is bringing the barihunks to this quaint river town, keep 'em coming!

For more information visit: http://www.cincinnatiopera.org/content.jsp?articleId=719

The 32-year-old Sardinian has studied with famed soprano Mirella Freni and has won a series of prestigious vocal awards, including the audience prize at the 2007 Operalia competition. It's easy to see why he'd be an audience favorite, with his smoky Mediterranean good looks and perfect Verdian baritone.

His next U.S. appearance will be with the Washington National Opera portraying Figaro in Rossini's classic comedy: http://www.dc-opera.org/performances/barber.asp

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Teddy Tahu Rhodes in Cincinnati

This may be the longest period of time that we've gone without a post of Teddy Tahu Rhodes. We never did find any juicy pictures of his Billy Budd in Santa Fe, but we're encouraged by the fact that he has plenty of barihunk roles on his schedule. He is performing Escamillo at The Met and in Munich, as well as Stanley Kowalski in A Streetcar Named Desire at the Sydney Opera.

The pictures from Cincinnati show him with a full head of blonde hair that makes his philandering all the more believable. Tonight is the last performance. Go to www.cincinnatiopera.org for ticket information.

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Red-Headed Ryan de Ryke

My apologies for the lack of posts over the last few days, but my internet service was down. After the Hottest Barihunk competition, I figured it's time to start looking at the barihunk bench. There are a number of major hunks emerging on the operatic scene and I want to shere them with you over the next week.

I recently received an email from someone who heard Ryan de Ryke in recital. They called him "tall, red-headed and someone you can't take your eyes off of." Well that got me googling pretty quick, so you be the judge.

De Ryke has appeared in a number of barihunks standards including Britten's Midsummer Night's Dream and our beloved Monteverdi and Mozart operas, which supply us with numerous barihunk images. He's rapidly establishing himself as an early music specialist and lieder recitalist of note, as witnessed from this beautiful clip of Schubert lieder.

De Ryke studied at the Britten-Pears Institute and his teachers have included Ian Partridge at the Royal Academy of Music and John Shirley-Quirk at the Peabody Conservatory.

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Simon Keenlyside: Sexiest Count Ever in "Le Nozze di Figaro"?

Three things about Simon Keenlyside's Count in Marriage of Figaro:
1. He actually looks good in 18th century garb.
2. He is virile, sexy and even a bit edgy. Watch his facial expression at the end.
3. He sounds incredible.

If I were the girls in this household, I'd watch my knickers.

BTW, he's singing "Hai gia vinta la causa."

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Happy Birthday, Erwin Schrott

[Pictured with his wife soprano Anna Netrebko on a holiday card from http://anna-netrebko.blogspot.com]

Uber-Barihunk Erwin Schrott turns 36 today and this site would like to wish him a Happy Birthday! Erwin, if you're honoring the old tradition of a birthday spanking, I think we have plenty of volunteers.

Also, in the Bradelina tradition, we're now dubbing you and your wife Schrottko.

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Markus Werba as Rossini's Figaro

He sounds every bit as good as he looks. His Los Angeles Opera Papageno is going to be a "must see" for any true barihunk connoisseur.

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