BASSO

Curriculum

Grammy Award for the best opera recording in the title role of Verdi’s Falstaff with the London Symphony Orchestra conducted by Colin Davis (LSO LIVE; Feb 2005).

As acclaimed Bass Michele Pertusi performed in the world's most important concert halls and opera houses, such as Opéra National de Paris, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro alla Scala, New York Metropolitan Opera, Teatro Real in Madrid, Rossini Opera Festival in Pesaro, Bayerische Staatsoper in Munich, Deutsche Oper in Berlin, Opernhaus in Zürich, La Monnaie in Bruxelles, Accademia Nazionale di Santa Cecilia in Rome and Barbican Centre in London with a repertory including the leading roles in such titles as Mozart’s Le nozze di Figaro, Così fan tutte, Don Giovanni, Rossini’s La Cenerentola, Semiramide, Il turco in Italia, L’italiana in Algeri, Le siège de Corinthe, Guillaume Tell, Donizetti’s Anna Bolena, Lucrezia Borgia, Lucia di Lammermoor, Verdi’s Oberto, conte di San Bonifacio, Attila, I Lombardi alla prima crociata, Falstaff and also symphonic works as Rossini’s Stabat Mater and Petite Messe solennelle, Mozart’s Requiem and Verdi’s Messa da Requiem.

He collaborated with such important conductors as Daniel Barenboim, Semyon Bychkov, Riccardo Chailly, Myung-Whun Chung, Colin Davis, Daniele Gatti, Vladimir Jurowski, James Levine, Zubin Mehta and Riccardo Muti.
Fra i suoi prossimi impegni annovera Oberto, Conte di San Bonifacio al Teatro alla Scala, Guillaume Tell all'Opernhaus di Zurigo, Il barbiere di
Siviglia, Nabucco, La Cenerentola e Simon Boccanegra alla Wiener Staatsoper, La Damnation de Faust alla De Vlaamse Opera di Antwerp, I Puritani all'Opéra National de Paris, Attila all'Opéra Royal de Wallonie de Liége, La Sonnambula e I Puritani al Metropolitan Opera di New York.

He opened the 2011/12 season singing Gounod’s Messa di Santa Cecilia at the Salle Pleyel de Paris, followed by Faust at the Liceu in Barcelona, La Sonnambula at the Covent Garden in London, Oberto, Conte di San Bonifacio at the Théâtre des Champs Elysées de Paris, Nabucco at the Teatro della Fortuna di Fano, L’elisir d’amore at the Opernhaus in Zurich and Il viaggio a Reims at the Maggio Musicale. Fiorentino. Among his future plans are Oberto, Conte di San Bonifacio at the Teatro alla Scala, Guillaume Tell at the Opernhaus in Zurich, Il barbiere di Siviglia, Nabucco, La Cenerentola e Simon Boccanegra at the Wiener Staatsoper, La Damnation de Faust at the De Vlaamse Opera in Antwerp, I Puritani at the Opéra National de Paris, Attila at the Opéra Royal de Wallonie de Liége, La Sonnambula and I Puritani at the Metropolitan Opera in New York.

His recent engagements have also included Petite Messe Solennelle at the Théâtre des Champs Elysées de Paris, , Il barbiere di Siviglia, La Sonnambula, Lucrezia Borgia and L’italiana in Algeri at the Wiener Staatsoper, Guillaume Tell, Carmen and Mosè in Egitto at the Opernhaus in Zürich, L’italiana in Algeri in Bilbao, Le Comty Ory and Le nozze di Figaro at the Metropolitan in New York, Attila and L’italiana in Algeri at the Teatro alla Scala di Milano, L’italiana in Algeri at the Teatro Real in Madrid, Guillaume Tell in Amsterdam, La Sonnambula at the Opéra National de Paris, L’elisir d’amore and Don Pasquale at the Teatro Comunale di Bologna, Falstaff in Bilbao, Lucrezia Borgia at the Semperoper in Dresden, Norma at the Konzerthaus in Dortmund, I Lombardi alla prima crociata at the Macerata Opera Festival, Attila, I Lombardi alla prima crociata, La pietra del paragone and Faust at the Teatro Regio di Parma, Szene aus Goethes Faust at the Teatro Real de Madrid and at the Teatro Regio di Parma, Luisa Miller at the Bayerische Staatsoper, Mosè in Egitto at the Teatro dell’Opera di Roma, Guglielmo Tell at the Accademia Nazionale di Santa Cecilia, Lucrezia Borgia at the Teatro Regio di Torino, Falstaff at the Staatsoper in Berlin and at the Teatro Lirico di Cagliari, Maometto II, La gazza ladra and Petite Messe Solennelle at the Rossini Opera Festival di Pesaro, Don Giovanni (title role) at the Teatro Bellini di Catania, Oberto, conte di San Bonifacio, La Sonnambula and Anna Bolena at the Teatro Filarmonico di Verona, Maometto II in Amsterdam, I Puritani at the Monnaie de Bruxelles and in Amsterdam, Stabat Mater by Rossini at the Festival Mozart in La Coruña.

Since 1997 Michele Pertusi has been a regular guest at the Rossini Opera Festival of Pesaro, where he made his debut in Graham Vick’s new production of Moïse et Pharaon (1997; conducted by Vladimir Jurowski). In the next seasons he returned to Pesaro for productions of Il viaggio a Reims, Petite Messe Solennelle, Le Siège de Corinthe, Torvaldo e Dorliska and La gazza ladra. For his achievements there, he was awarded the “Rossini d’oro Prize”.

Since 1998 he has been also a regular guest of the Teatro alla Scala, where he performed in several productions including Lucrezia Borgia, Le nozze di Figaro (Conte d’Almaviva) and Don Giovanni (Don Giovanni) with Riccardo Muti, Nina, o sia la pazza per amore (Il conte), Il turco in Italia (Selim) conducted by Riccardo Chailly, as well as La Sonnambula, Lucrezia Borgia, L’italiana in Algeri, La Cenerentola (Alidoro, led by Bruno Campanella) and Marco Tutino’s Vita.

His discography includes, among others, Rossini’s Petite Messe Solennelle, Stabat Mater, Cantata per Pio IX and La Cenerentola conducted by Riccardo Chailly (Decca), Don Giovanni and Così fan tutte conducted by Georg Solti (Decca), Le nozze di Figaro under Zubin Mehta’s baton (Sony), Semiramide and Maometto II (Ricordi), Don Giovanni conducted by Daniel Barenboim (Erato), Il turco in Italia conducted by Riccardo Chailly (Decca) and Falstaff conducted by Colin Davis (LSO live). In 1995 he was awarded the “Abbiati International Prize”. His recording of Il turco in Italia conducted by Riccardo Chailly for Decca was recently awarded the Gramophone Award. In February 2005 has won the Grammy Award for the Best Opera Recording in the title role of Verdi’s Falstaff, with the London Symphony Orchestra conducted by Colin Davis (LSO LIVE). Recently he has been the recipient of the Golden Medal as Cultural Benemeritus from the President of the Italian Republic. Michele Pertusi was born in Parma and studied with Arrigo Pola, Carlo Bergonzi and Rodolfo Celletti. For the preparation for the roles he collaborates with the Prof. Hisako Tanaka.

February 2012

Discography

H. Berlioz:
La damnation de Faust (Mephistopheles)
Cond. Colin Davis
[LSO live CD, 2003]

V. Bellini
I Puritani (Sir Giorgio)
Cond. Gustav Kuhn
[RCA CD, 2003]

F. Cavalli
La calisto (Giove)
Cond. Bruno Moretti
[Stradivarius CD STR 1360617, 1998]

G. Donizetti
Marin Faliero (title role)
Cond. Ottavio Dantone
[Hardy Classic DVD, 2006]

J. Massenet
Thaïs (Athanaël)
Cond. Marcello Viotti
[Dynamic CD 427, 2003]
[Dynamic DVD, 2003]

A. Mozart
Don Giovanni (Masetto)
Cond. Daniel Barenboim
[ERATO CD, 1991]

Le nozze di Figaro (Figaro)
Cond. Zubin Mehta
[Sony CD S3K 53286, 1992]

Così fan tutte (Don Alfonso)
Cond. Georg Solti
[Decca CD 444 174-2, 1996]

Don Giovanni (Leporello)
Cond. Georg Solti
[Decca CD 455 500-2, 1997]

Le nozze di Figaro (Conte d'Almaviva)
Cond. Daniel Barenboim
[WEA CD, 2005]

Così fan tutte (Don Alfonso)
Cond. Daniel Barenboim
[WEA CD, 2005]

G. Rossini
Il barbiere di Siviglia
Cond. Giuseppe Patanè
[Decca CD, 1989]

La Cenerentola (Alidoro)
Cond. Riccardo Chailly
[Decca CD 436902-2, 1992]

Il signor Bruschino (Filiberto)
Cond. Ion Marin
[Deutsche Grammophon CD 435 865-2, 1992]

Semiramide (Assur)
Cond. Alberto Zedda
[Ricordi CD RFCD 2018, 1992]
[HOMMAGE CD 7001840, 2001]
[Warner CD CET 092743320, 2002]

Maometto II (title role)
Cond. Gianluigi Gelmetti
[Ricordi CD RFCD 2021, 1993]

Di tanti palpiti. Arie e canzoni inedite
Cond. Maurizio Benini
[Ricordi CD, 1994]

Messa Solenne
Cond. Riccardo Chailly
[Decca CD 444 134-2, 1995]

Gioachino Rossini – Arie da camera e da concerto
Cond. Claudio Casadei
[Mondo Musica CD MM 90061, 1997]

Cantata per il sommo pontefice Pio IX
Cond. Riccardo Chailly
[Decca CD 458 843-2, 1998]

Il turco in Italia (Selim)
Cond. Riccardo Chailly
[Decca CD 458 924-2, 1998]

Rossini - Cantatas
Cond. Riccardo Chailly
[Polygram Records CD, 1998]

L'italiana in Algeri (Mustafà)
Cond. Daniele Callegari
[Bel Canto Society VHS, 1999]

Moïse et Pharaon (Moïse)
Cond. Vladimir Jurowski
[ROF CD 10013, 1999]

Rossini Discoveries
Cond. Riccardo Chailly
[Decca CD, 2003]

Stabat Mater
Cond. Riccardo Chailly
[Decca CD, 2003]

La Cenerentola (Alidoro)
Cond. Bruno Campanella
[Decca VHS 071 444-3]
[Decca DVD, 2004]

Torvaldo e Dorliska (Duca d'Ordow)
Cond. Víctor Pablo Pérez
[Dynamic DVD, 2007]

G. Verdi
Ernani (Don Ruy Gomez de Silva)
Cond. Giuliano Carella
[Nuova Era CD 7028129, 1991]

Verdi – Complete Chamber Songs
with Parma Opera Ensemble
[Stradivarius CD, 1999]

Verdi – Messa Solenne
Cond. Riccardo Chailly
[Decca CD, 2000]

Luisa Miller (Conte di Walter)
Cond. Angelo Campori
[Bel canto society VHS, 2001]

Oberto, conte di San Bonifacio (title role)
Cond. Daniele Callegari
[Fonè CD, 2001]

Falstaff (title role)
Cond. Colin Davis
[LSO live CD, 2004]
Grammy award winner 2006

Attila (title role)
Cond. Carla Del Frate
[Fimvelstar CD, 2005]


Miscellanea
Michele Pertusi – Opera Arias (Music by Bellini, Donizetti, Verdi)
Cond. Emil Tabakov
[Capriccio CD 10704, 1994]

Malìa
with Parma Opera Ensemble
[Stradivarius CD STR 33472, 1997]

Serenata
with Parma Opera Ensemble
[Stradivarius CD STR 33473, 1997]

Press

Simon Boccanegra - Teatro Regio in Turin - October 2013

It is obvious that Michele Pertusi  should be considered the best in the field . Pertusi has his own technique, polished, cultivated with care . The artist has approached the colour that Verdi himself considered necessary for Fiesco . He develops the role,  works on the accent and draws an accomplished figure. This a a determined, but not evil, Fiesco , with a strong human presence shown at the start of    “Lacerato spirito “ which  gradually becomes more obvious until the act III duet with Simone .
Giancarlo Landini - Operaclick

Authoritative Fiesco sung by bass Michele Pertusi
Silvia Luraghi - theoperacritic

We were able to once again appreciate the great class of Michele Pertusi , shown in the “legato cantabile”, in the fluidity of the melodic line and the wise shades of color.
gbopera.it

Michele Pertusi features a sumptuous vocal performance .
Paul Gallerati - The Press

The Fiesco of Michele Pertusi , vocally and theatrically impeccable .
Daland - proslambanomenos

High-level performance of Michael Pertusi in the decisive role of arch- enemy Fiesco .
Attilio Piovano - The Musical Courier

Michele Pertusi is engaged in the role of Jacopo Fiesco, with a good quality performance as always.The bass is accurate, stylish, respectful of the indications of the author , and the beauty of the voice further enhances such aplomb.
Michele Curnis - gbopera

Michele Pertusi’s Fiesco dominates the cast. He is the only one, inter alia,  to deal with Verdi's writing using a knowledgeable and noble style supported by an by appropriate technique.
Among the different figures,  Pertusi is the only one to emerge with a profound interpretation of Verdi’s composition, even in the most intimate folds of a song of ineffable nobility. The sense of the word , how to give and enliven the musical phrase , to articulate the development, the technical skill with which he faces the whole texture, even in the most dramatic steps, without forcing , makes of him a magnetic interpreter, overpowering . Remarkable in the Prologue , he is also magnificent in  the final.
Roberta Pedrotti - Ape Musicale

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Attila - Opera de Vallonie - Liege - September 2013

Michele Pertusi , in great vocal shape, shows a human  Attila with a tortured soul ; he demonstrates  once again what it means to sing Verdi for a bass. The voice sounds full and round,  from the grave to the acute, with a state of the art legato and the actor is sober and convincing. A  good test .
Nicolas Grienenberg - classiquenews.com

The Italian bass Michele Pertusi has captivated audiences with his ​​beautiful voice
grenzheco.net

The good bass Michele Pertusi gives an enticing characterization of Attila
Bruno Peetrs - Crescendo

A crown  for Michele Pertusi, who, with ease and impeccable deep voice, has interpetrated dramatic pages of Attila.
Lucrèce Maeckelbergh - Klassiek Central

Watch for the Attila sung by Michele Pertusi, who, at this stage of his career, goes from Rossini to Verdi with amplitude, phrasing and and vocal charisma .
Olivier Rouvière - concertclassique.com

In the title role, Michele Pertusi, sings with quality, captivating tone , elegant phrasing and a variety of accents. He is a king of the Huns more humane and civilized than the image conveyed by  popular tradition.
Sebastien Foucart - Concerto net

Michele Pertusi that has given much to the Rossini repertoire, features a high register and winning performance with a sense of Verdi served by a refined technique that allows him to vary his singing intelligently .
Christoph Rizoud - forumopera.com

There was a point of great interest in the production of Attila in Liège: the singer who played the title role . It’s been a pleasure to listen to the wonderful tone of Michele Pertusi’s voice. His ability to articulate each syllable within a stable and warm singing line, with a voice that flows, has been a source of real enjoyment .
Garden of Armida

Michele Pertusi gives a lesson in style, the interpreter is a fine musician also facing the difficulties of  a more complex character than it looks, because Verdi has transformed the " scourge of God" into a tormented human being and Michele Pertusi’s renders him to the fullest.
Philippe Thanh - La lettre du musicien

Michele Pertusi plays the title role with a fulminant bass voice and a credible performance on stage. The highlight of his great interpretation was the scene of the dream of Attila.
Thomas Molke - Online Music Magazine

An enthralling performance by the famous Italian bass Michele Pertusi particularly convincing in terms of technique and vocal interpretation . At the end, great applause from the audience.
Opera Gazet

Michele Pertusi ( Attila), is not a surprise because which has repeatedly sung this role. The tone is light , the style racy,  perfect technique and intelligence of singing is remarkable, the  vocal and theatrical interpretation is perfectly suited to the music writing : an extraordinary moment !
Corinne Le Gac - Opera World

The best has come, in particular, from the bass Michele Pertusi, a very safe and soft voice in superb balance between bel canto and heroism .
Michèle Friche - Le Soir

It’s Michele Pertusi that embodies the King of the Huns : clear, powerful voice , perfect diction, noble and elegant singing, the Italian confirms his talent in this debut in Liege .

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Norma - Salzburg - August 2013
incision and Decca

(Fabulous, for his part, Michele Pertusi as Oroveso : the obsessive attention to the accent, word for word and note for note , calligraphic border on the more welcome in this part often read in a very unkempt, and make one with a character forced to bipolarity between his affection for his daughter traitor and fanatical adherence to the motions of the resistance ( Gallic partisan or whatever) . A bipolar mental and vocal together : playing in this duplicity , low Parmesan boasts a variety of colors and inflections exciting )  Pas traduit, trop compliqué...
Francis Lora - The Musical Courier

There is no denying that Oroveso gives singers  few opportunities to express their creative energy , so it is a special privilege to listen to the Italian bass Michele Pertusi, one of the most successful singers in the bel canto repertoire in recent years. Despite a long association with comic roles of Rossini and Donizetti , Mr. Pertusi shows exceptional qualities even in serious roles. His easy expression and his diction contribute to raising the level of authenticity in many productions . He brings authority and a very well chosen sensation of youth in singing Oroveso in this recording . The sounds of Mr. Pertusi are compelling and manly, without forcing or distorting his voice . His ' Ite sul colle , o Druidi ' and his ' Ah ! del Tebro al Giogo indegno ' are impressive.
Joseph Newsome - Voix des arts

Michele Pertusi brings beauty of sound and nobility to the role of Oroveso, and performs with good rhythmic force " Ah ! Del Tebro . "
Judith Malafronte - Operanews

I've always found Michele Pertusi an eclectic artist and in this part he provides an excellent performance.
Sebastian Petit - Opera Britannia

Michele Pertusi was impressive as Oroveso .
Melomania

Michele Pertusi is a noble and stylistically appropriate Oroveso.
George Gualerzi - Christian Family

Michele Pertusi was a Oroveso with a warm and imposing voice.
George Loomis - New York Times

Michele Pertusi was robust with a beautiful style .
Moore Parker - theoperacritic

Sonorous and charismatic Michele Pertusi as Oroveso .
Irving Spitz - JPost

Michele Pertusi as Oroveso is, as always, very good vocally and scenically
Dr. B - onopera

Michele Pertusi is a noble Oroveso .
Lignana Marion Rosenberg - Operavore

Bravo Michele Pertusi, an athoritative Oroveso .
nonsolobelcanto.com

Michele Pertusi is a reassuring Oroveso, always bearing a solidity that has its roots in ' long experience , noble manners . "
Ilaria Badino - The Musical Courier

La Sonnambula - London Royal Opera House Covent Garden - November 2011

The arrival of Count Rodolfo brings a touch of color with the presence of MP , whose gentle bass voice and  natural charisma are convincing. Sascha Morton, www.whatsonstage.com 3/11/2011 .

By far the best vocal performance of the evening was that of MP as Count : his rich and resonant bass voice was pleasant and dramaturgically convincing. Flora Wilson, www.musicalcriticism.com 4/11/2011 .

MP gives authority to the Count Rodolfo . Richard Fairman , Financial Times, 4/11/2011 .

The Parmesan bass MP was the best . With excellent credentials as a Bellini  singer ( I was very impressed by him in the Puritans in Vienna), his warm colored voice , height, good looks and stage presence in general gave credibility to Count Rodolfo . Tully Potter www.classicalsource.com 4/11/2011 .

MP excels in Count Rodolfo using his voice with great taste. He has an attractive bass voice that closely follows the requirements of Bellini. The characterization was appropriate and his performance was excellent. Antony Lias www.opera.britania.com 3/11/2011 .

MP was brilliant as the Count. David Karlin www.bachtrack.com 3/11/2011

The best song and the best interpretation is by MP , one of the few singers who deserve the appellation " the Great". His legato, elegant phrasing and sweet singing style were exactly what we need for Count Rodolfo . Melanie Eskenazi www.musicomh.com 4/11/2011 .

The Italian bass MP reminds us of what should be the true values ​​of the bel- canto. Bases its performance on a flexible and solid line and a legato that too often, today, is a rare commodity . George Hall www.thestagereviews.co.uk 4/11/2011 .

The summit of the evening was Count Rodolfo beautifully sung by MP. The George Clooney look alike  emerges as an authentic bel canto singer with charm and distinguished elegance. www.intermezzo.typepad.com 4/11/2011 .

MP sings superbly Count Rodolfo, a role  which he has performed in major theaters including the MET in 2009. P also has a wonderful stage presence . Mark Ronan www.markronanwordpress.com 4/11/2011 .

The arrival of Count Rodolfo brings a credible sensual anguish in its wake and P, absolutely charismatic, steals the show . Tim Ashley - The Guardian , 4/11/2011 .