JOSEPH LATTANZI
baritone
“robust vocalism”
“unmistakable charisma”
“undeniable star potential”
JOSEPH LATTANZI COMMANDS ATTENTION FOR HIS “ROBUST VOCALISM,” “UNMISTAKABLE CHARISMA,” AND “UNDENIABLE STAR POTENTIAL.”
Lattanzi established himself as a major artist in the current landscape of opera with his portrayal of Hawkins Fuller in the world premiere of Gregory Spears’ Fellow Travelers. The New York Times said “Joseph Lattanzi was splendid as Hawk, his buttery baritone luxuriant and robust.” Praise for his work encompasses nearly 10 years of raves from audiences in Cincinnati, New York City, Chicago, Phoenix, Tucson & Des Moines and critics from The Wall Street Journal, The Chicago Tribune, Opera News & Opera Now. He can be heard on the original cast recording of Fellow Travelers. His recorded work also includes other world premiere operas in addition to songs and duets with some of the music world’s finest interpreters.
He has spent 5 years on the roster of the Metropolitan Opera in New York City and will continue to apply his interpretive and vocal skill to works from the 1600s to today. His ever-growing operatic repertoire includes Figaro in the Barber of Seville, Escamillo in Carmen, Silvio in I Pagliacci, Don Giovanni in Don Giovanni, Count Almaviva in The Marriage of Figaro, Papageno in the Magic Flute, Orpheus in Matthew Aucoin’s Euridice, Lt. Audebert in Kevin Puts’ Silent Night, Dandini in Rossini’s Cinderella and he has been heard by audiences at Seattle Opera, Chicago Lyric Opera, San Francisco Opera, Atlanta Symphony Orchestra, Arizona Opera, Virginia Opera, Atlanta Opera, PROTOTYPE festival & Grand Teton Music Festival – among others.
JOSEPH LATTANZI BESTICHT DURCH SEINE “ROBUSTE STIMME”, SEIN “UNVERWECHSELBARES CHARISMA” UND SEIN “UNBESTREITBARES STARPOTENZIAL”.
Mit seiner Darstellung des Hawkins Fuller in der Uraufführung von Gregory Spears’ Fellow Travelers etablierte sich Lattanzi als wichtiger Künstler in der aktuellen Opernlandschaft. Die New York Times schrieb: “Joseph Lattanzi war großartig als Hawk, sein butterweicher Bariton ist üppig und kräftig.” Seit fast 10 Jahren wird er vom Publikum in Cincinnati, New York City, Chicago, Phoenix, Tucson und Des Moines sowie von Kritikern des Wall Street Journal, der Chicago Tribune, Opera News und Opera Now hoch gelobt. Er ist auf der Originalaufnahme der Besetzung von Fellow Travelers zu hören. Zu seinen Aufnahmen gehören auch andere Opern mit Weltpremiere sowie Lieder und Duette mit einigen der besten Interpreten der Musikwelt.
Er stand fünf Jahre lang auf dem Spielplan der Metropolitan Opera in New York City und wird auch weiterhin seine Interpretations- und Gesangskünste bei Werken von 1600 bis heute einsetzen. Sein ständig wachsendes Opernrepertoire umfasst Figaro im Barbier von Sevilla, Escamillo in Carmen, Silvio in I Pagliacci, Don Giovanni in Don Giovanni, Graf Almaviva in Die Hochzeit des Figaro, Papageno in der Zauberflöte, Orpheus in Matthew Aucoins Euridice, Lt. Audebert in Kevin Puts’ Stille Nacht, Dandini in Rossinis Cinderella und er war unter anderem an der Seattle Opera, der Chicago Lyric Opera, der San Francisco Opera, dem Atlanta Symphony Orchestra, der Arizona Opera, der Virginia Opera, der Atlanta Opera, dem PROTOTYPE Festival und dem Grand Teton Music Festival zu hören.
JOSEPH LATTANZI ATTIRE L’ATTENTION PAR SON “VOCALISME ROBUSTE”, SON “CHARISME INCOMPARABLE” ET SON “INDÉNIABLE POTENTIEL DE STAR”.
Lattanzi s’est imposé comme un artiste majeur dans le paysage actuel de l’opéra avec son interprétation de Hawkins Fuller dans la première mondiale de Fellow Travelers de Gregory Spears. Le New York Times a déclaré que “Joseph Lattanzi était splendide dans le rôle de Hawk, son baryton luxuriant et robuste”. Depuis près de dix ans, son travail est salué par le public de Cincinnati, New York, Chicago, Phoenix, Tucson et Des Moines, ainsi que par les critiques du Wall Street Journal, du Chicago Tribune, d’Opera News et d’Opera Now. On peut l’entendre sur l’enregistrement de la distribution originale de Fellow Travelers. Il a également enregistré d’autres opéras en première mondiale, ainsi que des chansons et des duos avec certains des meilleurs interprètes du monde de la musique.
Il a passé cinq ans au Metropolitan Opera de New York et continuera d’appliquer ses talents d’interprète et de chanteur à des œuvres datant des années 1600 à aujourd’hui. Son répertoire d’opéra, qui ne cesse de s’enrichir, comprend Figaro dans le Barbier de Séville, Escamillo dans Carmen, Silvio dans I Pagliacci, Don Giovanni dans Don Giovanni, le comte Almaviva dans Les Noces de Figaro, Papageno dans la Flûte enchantée, Orphée dans Euridice de Matthew Aucoin, le lieutenant Audebert dans la pièce de Kevin Puts, et le violoncelliste de l’Opéra de New York dans la pièce de l’Opéra de New York, le violoncelliste de l’Opéra de New York. Audebert dans Silent Night de Kevin Puts, Dandini dans Cendrillon de Rossini et il a été entendu par les publics du Seattle Opera, du Chicago Lyric Opera, du San Francisco Opera, de l’Atlanta Symphony Orchestra, de l’Arizona Opera, du Virginia Opera, de l’Atlanta Opera, du PROTOTYPE festival et du Grand Teton Music Festival – entre autres.
JOSEPH LATTANZI LLAMA LA ATENCIÓN POR SU “ROBUSTO VOCALISMO”, “CARISMA INCONFUNDIBLE” E “INNEGABLE POTENCIAL DE ESTRELLA”.
Lattanzi se consolidó como un artista importante en el panorama actual de la ópera con su interpretación de Hawkins Fuller en el estreno mundial de Fellow Travelers, de Gregory Spears. The New York Times dijo: “Joseph Lattanzi estuvo espléndido como Hawk, su barítono mantecoso exuberante y robusto”. Los elogios a su trabajo abarcan casi 10 años de elogios del público de Cincinnati, Nueva York, Chicago, Phoenix, Tucson y Des Moines y de críticos de The Wall Street Journal, The Chicago Tribune, Opera News y Opera Now. Se le puede escuchar en la grabación original del reparto de Fellow Travelers. Sus grabaciones incluyen otros estrenos mundiales de ópera, además de canciones y dúos con algunos de los mejores intérpretes del mundo de la música.
Ha formado parte del elenco de la Metropolitan Opera de Nueva York durante 5 años y seguirá aplicando su habilidad interpretativa y vocal a obras desde el siglo XVII hasta nuestros días. Su repertorio operístico, cada vez más amplio, incluye a Fígaro en El barbero de Sevilla, Escamillo en Carmen, Silvio en I Pagliacci, Don Giovanni en Don Giovanni, el Conde Almaviva en Las bodas de Fígaro, Papageno en La flauta mágica, Orfeo en Euridice de Matthew Aucoin, el Teniente Audebert en Las bodas de Fígaro de Kevin Puts, y el Teniente Audebert en Las bodas de Fígaro de Kevin Puts. Audebert en Noche de Paz de Kevin Puts, Dandini en La Cenicienta de Rossini y ha sido escuchado por el público de la Ópera de Seattle, la Ópera Lírica de Chicago, la Ópera de San Francisco, la Orquesta Sinfónica de Atlanta, la Ópera de Arizona, la Ópera de Virginia, la Ópera de Atlanta, el festival PROTOTYPE y el Grand Teton Music Festival, entre otros.
UPCOMING ENGAGEMENTS
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Le nozze di Figaro: Il Conte Jan 24 & 26, 2025
by W.A. MOZART - PENSACOLA OPERA - Pensacola FL
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The Creation: Baritone Soloist Mar 27, 2025
by F.J. HAYDN - TBA
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Il barbiere di Siviglia: Cover Mar - May 2025
by G. ROSSINI - METROPOLITAN OPERA - New York NY
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Fellow Travelers: Hawkins Fuller 2026
by GREGORY SPEARS - TBA
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American Sputnik: Van Cliburn 2026
WORLD PREMIERE by EVAN MACK & MARK CAMPBELL - GILMORE PIANO FESTIVAL
LE NOZZE DI FIGARO
IL BARBIERE
DI SIVIGLIA
American Sputnik
The Creation
Repertoire
- Paul Jobs & Steve (cover) | Bates/Campbell: The (R)evolution of Steve Jobs
- Don Giovanni | Mozart: Don Giovanni (Arizona Opera)
- Belcore | Donizetti: L’elisir d’amore (Minnesota Opera)
- Baritone Soloist | Orff: Carmina Burana (Atlanta Symphony Orchestra)
- Ned Keene (cover) | Britten: Peter Grimes (Metropolitan Opera)
- Escamillo | Bizet: Carmen (Utah Festival Opera)
- Figaro | Rossini: The Barber of Seville (Atlanta Opera)
- Orpheus (cover) | Aucoin: Eurydice (Metropolitan Opera)
- Hawkins Fuller | Spears: Fellow Travelers (Virginia Opera, Des Moines Metro Opera, Arizona Opera, Chicago Lyric Opera, Cincinnati Opera, PROTOTYPE festival)
- The Steward | Dove: Flight (Seattle Opera)
- Silvio | Leoncavllo: I Pagliacci (Atlanta Opera)
- Conte Almaviva | Mozart: The Marriage of Figaro (Cincinnati Opera)
- Don Giovanni | Mozart: Don Giovanni (Jacksonville Symphony)
- Lt. Audebert | Puts: Silent Night (Arizona Opera)
- AUCOIN
- Orpheus – Eurydice
- BELLINI
- Riccardo – I Puritani
- Ernesto – Il Pirata
- BIZET
- Escamillo – Carmen
- Zurga – Pearl Fishers
- BRITTEN
- Sid – Albert Herring
- Billy Budd – Billy Budd
- Demetrius – A Midsummer Night’s Dream
- Ned Keene – Peter Grimes
- Tarquinius – The Rape of Lucretia
- DONIZETTI
- Belcore – The Elixir of Love
- Malatesta – Don Pasquale
- Enrico – Lucia di Lammermoor
- Alphonso – La Favorita
- Nottingham – Roberto Devereux
- GOUNOD
- Mercutio – Romeo and Juliet
- Valentin – Faust
- HANDEL
- Pallante – Agrippina
- Cesare, Achilla – Giulio Cesare
- Argante – Rinaldo
- HEGGIE
- Starbuck – Moby Dick
- Charlie – Three Decembers
- LEONCAVALLO
- Silvio – I Pagliacci
- MASSENET
- Lescaut – Manon
- Albert, Werther – Werther
- Athanael – Thais
- MAZZOLI
- Jan – Breaking the Waves
- MENOTTI
- John Sorel – The Consul
- MONTEVERDI
- Ulisse – Il Ritorno d’Ulisse in Patria
- MOZART
- Conte Almaviva – The Marriage of Figaro
- Don Giovanni – Don Giovanni
- Guglielmo – Cosi fan tutte
- Papageno – The Magic Flute
- PUCCINI
- Marcello – La Boheme
- Sharpless – Madama Butterfly
- Lescaut – Manon Lescaut
- Sonora – La Fanciulla del West
- Ping – Turandot
- PUTS
- Lt. Audebert – Silent Night
- ROSSINI
- Figaro – The Barber of Seville
- Dandini – La Cenerentola
- Rimbaud – Le comte Ory
- STRAVINSKY
- Nick Shadow – The Rake’s Progress
- TCHAIKOVSKY
- Onegin – Eugene Onegin
- Yeletsky – The Queen of Spades
- Robert – Iolanta
- THOMAS
- Hamlet – Hamlet
- VERDI
- Rodrigo – Don Carlo
- Ford – Falstaff
- WAGNER
- Donner – Das Rheingold
- Wolfram – Tannhäuser
Video
Critical Acclaim
“Joseph Lattanzi is all ego and posturing as Belcore, brazenly declaring his superiority in “Come Paride vezzoso” (Just as the charming Paris), which Lattanzi delivers with a rich baritone.”
Talkin’Broadway.com, Arthur Dorman
“Joseph Lattanzi is every inch the smarmy egotistical frat boy as Belcore, lending a beautiful voice to his spirited paeans to himself”
Minneapolis Star-Tribune, Rob Hubbard
Joseph Lattanzi is memorable as the bullfighter Escamillo. His “Toreador Song” is just what it needs to be, a triumphant anthem performed with gusto.
Cache Daily, Charlie Schill
“If Joseph Lattanzi does not own the role of Hawkins Fuller by now, he should. He created the part in the world premiere and has been seen more often than not in subsequent applauded showings. His soft-grained, well-modulated lyric baritone is warm, pliable, and endlessly appealing. And when forceful declamation is required, he has absolutely no trouble commanding your attention with vocal power and potency. Moreover, Mr. Lattanzi is movie star handsome. Who wouldn’t fall for his charms, whatever warts his character possesses? At this point in his affiliation with this opera, there is no nuance of Hawk’s requirements that eludes his accomplished grasp. This is a definitive role traversal.”
Opera Today, James Sohre
“Joseph Lattanzi recreates his Hawkins Fuller splendidly, bringing out the character’s deeply conflicted nature with a resonant baritone and a charismatic stage presence. Like Timothy, you want to love and hate this guy at the same time.”
Chicago Tribune, John von Rhein
“Aaron Blake (Tim) and … Joseph Lattanzi (Hawk), with his strapping, enveloping baritone, play off each other perfectly … Lattanzi covers a broad dramatic range, from the cheerful confidence of his attractive public face to the quiet, genuine affection he unexpectedly feels for Tim.”
Opera News March 2018 Recording Review Critics Choice, Joshua Rosenblum
“baritone Joseph Lattanzi as Hawkins Fuller is all warm bonhomie and surface charm with something elusive and shifting behind the attractive facade. Lattanzi’s warm lyric baritone and Arrow Collar Man good looks give the character a seductive charisma that makes us empathize with all who come under his influence.”
Gay City News, Eli Jacobson
“Aaron Blake’s Tim and Joseph Lattanzi’s Hawk showed remarkable dramatic chemistry and vocal compatibility, with Blake’s glowing, youthful tenor and Lattanzi’s capacious, charismatic baritone immediately establishing the balance of power.”
Opera News PROTOTPYE festival review, Joshua Rosenblum
“The leading men are both terrific … Baritone Joseph Lattanzi hit precisely the right louche note with his smirk and light, lithe voice, and, whatever his sexual orientation, he convinced utterly as a top man in the first act’s sex scene.”
Observer, James Jorden
“Joseph Lattanzi was splendid as Hawk, his buttery baritone luxuriant and robust.”
New York Times, Corinna da Fonseca-Wollheim
“No string of superlatives can do justice to the masculine security of Lattanzi’s singing and his convincing transformationfrom self-confident, reckless love to deeply despairing heartbreaker.”
Opera Now Magazine (UK), Jason Victor Serinus
“Baritone Joseph Lattanzi was superb as the smooth-talking, handsome Hawk”
Wall Street Journal, Heidi Waleson
“The robust baritone Joseph Lattanzi delivered a compelling, multilayered portrait of [Hawkins] Fuller.”
Chicago Tribune, John Von Rhein
“Joseph Lattanzi brought … a confident, handsome presence, and a resonant baritone suggesting wells of feeling … “
Opera News, Fred Cohn
“Hawkins [was] sung by Joseph Lattanzi with overarching self-confidence and brio ”
American Record Guide, Jay Harvey
“In the central role of Hawkins Fuller … baritone Joseph Lattanzi delivers a career-making performance … with a creamy lyric baritone and matinee idol looks…”
Seen and Heard International, Rafael de Acha
“Lattanzi’s rich baritone, combined with his imposing height is swoon-worthy and could probably charm the pants off of Rush Limbaugh…”
Thebroadwayblog.com, Ryan Leeds
“the most striking moment of the second act is Hawk’s aria “Our Very Own Home.” Spears sets a melismatic vocal line—sung in a full, yet agile baritone by Joseph Lattanzi…”
icareifyoulisten.com, Amanda Cook
” As Hawk, a handsome state department official, Lattanzi exuded the swagger of the office charmer. He easily seduced the ladies (he eventually marries one) as well as the younger Timothy … he sang in a mellifluous baritone…”
Cincinnati Enquirer, Janelle Gelfand
“Figaro is played by Atlanta native Joseph Lattanzi. He is more than up for the task … his presence on stage is like a warm glow. His voice is stellar. His acting is top notch. He can garner a snicker from the audience with just a facial expression. He doesn’t as much command the stage, as integrate with it, letting his skills play off those of the other performers.”
artsATL, Jonathon Shipley
“The soloists were incredible, and very well cast in their roles. Baritone Joseph Lattanzi, in his lead role as the unrepentant libertine Don Giovanni, imbued his role as the snarky, arrogant Don with just the right combination of charm and menace.”
Florida Times-Union, Timothy Tuller
“as Don Giovanni Joseph Lattanzi was a delight both vocally and dramatically…he achieved a high plane of vocalism and dramatic purpose whenever he was on stage”
Opera Today, Maria Nockin
“Each role was wonderfully sung and acted… Lattanzi was a charismatic, virile Count Almaviva with a strong baritone and a mean streak.”
Cincinnati Business Courier, Janelle Gelfand
“Baritone Joseph Lattanzi was note-perfect as the Count, bringing dramatic weight, ideal comic timing, and vocal authority.”
Seen and Heard International, Rafael de Acha
“Undeniable star potential…superb baritone Joseph Lattanzi…immensely energetic, nigh-flawless Count Almaviva…”
San Francisco Classical Voice, Jason Victor Serinus
“Baritone Joseph Lattanzi was a superb Count Almaviva…unmistakable charisma…the two numbers at the beginning of Act 3 which found him moving from oily seductiveness to explosive rage, made a vocal and theatrical tour de force”
San Francisco Chronicle, Joshua Kosman
“I was most impressed with Joseph Lattanzi (Dandini), whose instrument sounds fully-formed; he matched … coloratura note-for-note, but also spun a legato that was rich and luscious in all registers.”
A Beast in a Jungle, Robert Battey
“Joseph Lattanzi, a familiar face with the VO, again delighted with his warm, rounded baritone as crafty valet Dandini.”
The Virginian-Pilot, John Shulson
“With a relaxed demeanor and a seemingly effortless baritone delivery, Lattanzi stands out”
DC Metro Theater Arts, Bob Ashby
“Joseph Lattanzi was a long-suffering Audebert who could have been any mother’s son trying to contend with army regulations. His haunting voice was memorable.”
OperaWire, Maria Nockin
“Lt. Audebert (sung by baritone Joseph Lattanzi) …an alum of Arizona Opera’s Marion Roose Pullin young artists program, was thrilling with a deeply nuanced baritone that resonated with heartfelt emotion”.
Arizona Daily Star, Cathelena E. Burch
DISCOGRAPHY
Joseph is represented by L2 Artists
www.L2Artists.com/Joseph-Lattanzi
for booking inquiries:
[email protected] [email protected]
in europe:
contact Joseph:
