5

E. 44th St. Apt. 16 New York, NY

nicholastamagna@nicholastamagna.com

646.712.4208 www.nicholastamagna.com

B I O G R A P H Y

NICHOLAS TAMAGNA, New York-based countertenor, is the recent winner of the inaugural Nico Castel International Mastersinger Competition in New York in the male category. He is also a finalist and semi-fiinalist in the Arkadi Voice Competition and Gianni Bergamo Classical Music Competition in Fall 2011. He was most recently seen as Farnace in Mozart's early opera-seria Mitridate, Re di Ponto, with Little Opera Theatre of New York. Woolfe of the New York Times praised his voice as; "...vibrant in recitative and with full, rounded tone in his arias. He grew in force and stabilityand he understood the most important thing about this repertory: that ornamentation serves a dramatic purpose. Tamagna was also seen in Erwin Maas' wildly successful production of Handel's Alcina in the role of Ruggiero, with Pocket Opera of New York in March 2011. He was seen as Giulio Cesare in Giulio Cesare in Egitto with Bel Cantanti Opera in Virgina and Baltimore in October 2009, where his singing was described by Opera Brittania as a sexy English male alto. He made his debut performance as Orpheus in Orfeo ed Euridice with Brooklyn Repertory Opera in March 2008 and reprised this role with Opera Memphis in January 2010. Opera Now described him in the role of Orpheus as exquisite, combining perfect tonal quality with substantial power. His voice soared with piecing [sic] sadness and soothed with a silky beauty, giving a glimpse, perhaps, of why castrati voices became the divos of the Baroque era. Tamagna was an invited 2010 guest young artist with Canadian Operatic Arts Academy in London, Ontario in collaboration with Opera London and Maestro Timothy Vernon of Pacific Opera Victoria. In concert, he has performed a special New Years All-Bach Concert 2010 as the alto soloist in cantata 11 with the Amor Artis Chamber Orchestra and Choir. Nicholas Tamagna performed in December 2010 for the Fairfield Chorales performance of Handels Messiah as the alto soloist under the baton of the late maestro Johannes Somary. He also is a regular soloist with such period ensembles as La Fiocco Ensemble and Ensemble Calandra (most recently on the ARTEK Midtown Concert Series). In addition to his love for the Baroque, Tamagna has worked closely with modern
Nicholas Tamagna | Countertenor 2

composers, creating roles in new works. He sang the role of Billy in A Game of Poker, by composer Richard Burke, DMA at the Danny Kaye Playhouse, NY in 2009. He also performed in the premiere staging performance of A Hunger Art by Jeff Meyers with Center City Opera, Philadelphia, PA and was an invited guest performer for Melissa Dunphys media-splash modern oratorio The Gonzales Cantata in its Philly Fringe Festival debut in 2009; both pieces he performed again at The Burning Bayreuth Festival at Bard College, NY in 2010 under the direction of Timothy Nelson, American-Dutch Director. In the more standard repertoire, yet not standard for countertenor, he performed a series of educational versions of Humperdinks Hansel and Gretel with Amore Opera in 2011 as the Witch, while in their mainstage run of Die Fledermaus as Prince Orlofsky. In more avant-garde ways, Tamagna has broken the genderbarrier as the first countertenor to perform the role of Ulrica in Verdis Un Ballo in Maschera with Brooklyn Repertory Opera and in concert version. He has been an invited performer with One World Symphony, singing Ich bin der Welt abhanden gekommen from Mahlers Rckert lieder. For more info please visit Nicholas Tamagna at www.nicholastamagna.com.

P R E S S

these are ordered chronologically by performance. (top to bottom recent to past) PARTERREBOX.COM: TEEN SPIRIT (MAY 2011) Nicholas Tamagna, a tall, slim countertenor with a heavyweight voice up to an easy, ringing high A, made an effectively seething, sneering and, later, enchained Farnace. Black leather jeans and a sleeveless black vest clued us to his wicked character; he scowled and prowled a lot, too. He sang all evening with seamless power and beauty with some especially fine passagework. TAMINOPHILE: 14 YEAR OLD BOYS CAN BE SO CRUEL! (MAY 2011) Once again I happily praise that shiny-panted countertenor Nicholas Tamagna. As Farnace, the brat prince who pursues the absent kings main squeeze and also conspires against the king, Mr. Tamagna gave us beautifully nuanced singing and committed actingMy admiration for this mans singing and acting continues to grow. THE NEW YORK TIMES: ZACHARY WOOLFE: FROM MILAN TO NEW YORK IN 240 YEARS (MAY 2011) The countertenor Nicholas Tamagna, as the worse son, Farnace, was charismatic, vibrant in recitative and with full, rounded tone in his arias. He grew in force and stabilityand he understood the most important thing about this repertory: that ornamentation serves a dramatic purpose. OPERA OBSESSION: MITRIDATE, RE DI PONTO (MAY 2011) Nicholas Tamagna was a standout as the enthusiastically villainous Farnace. Venga pur, minacci e frema may have been my favorite of his arias, but he gave them all with nuance and fervor (while wearing leather pants. Im sorry, but a costume so striking demands to be mentioned.) NEW YORK OPERA REVIEW: ASTROTURF ALCINA (MARCH 2011) The most intriguing singer in the production was Nicholas Tamagna as Ruggiero. This role usually proves too high for a countertenor, but Tamagna delivered the role without a hitch. His high notes were strong and never strained, his voice resonating beautifully throughout the entire show. Considering his success in this role, his upcoming engagements, and his recent award as the male winner of The Nico Castel International Master Singer Competition, Nicholas Tamagna is most definitely the next big thing in the countertenor world. TAMINOPHILE.COM: PONY EXPRESS (MARCH 2011) REVIEWS OF THE BAROQUE CONCERT 3.18.11 AND ALCINA WITH POCKET OPERA OF NEW YORK (2011) The countertenor in the shiny pants, Nicholas Tamagna, was one of the highlights of the evening, and he sang two arias and a duet beautifully As Ruggiero, the knight who has been shipwrecked on Alcinas island and fallen under her spell, Mr. Tamagno [sic] sang beautifully and acted Ruggieros many emotions, from the most base and vulgar lust to passionate love for Alcina while under her spell to deep remorse when he comes to his senses.

Nicholas Tamagna | Countertenor

PARTERRE BOX: THE PORN IDENTITY (MARCH 2011) JOHN YOHALEM ON ALCINA AT POCKET OPERA OF NEW YORK (2011) Ruggiero, composed for a castrato and usually sung by a mezzo or a tenor, was here performed by male alto Nicholas Tamagna. A slim, handsome figure and an enthusiastic actor, Tamagna possesses a voice that couldnt resemble a sexless choirboys less. He fills the theater with sound like a powerhouse Verdi mezzo (Ive heard him before, as the first ever male Ulrico [sic] in Ballo in Maschera), yet he makes a moving thing of the tender phrases of the operas most famous aria, Verdi prate. [sic] (This made me the sadder that the director cut his Mio bel tesoro, an equally gorgeous such number.) OPERA NOW (VOL. 21 MAY/JUNE 2010) KARYL CHARNA LYNN: ORPHEUS (GLUCK) AT OPERA MEMPHIS (2010) The first evening countertenor Nicholas Tamagna took the role of Orpheus and, of all the leads, he was the most successful in capturing the essence of Orpheus: a poet who, in attempting to penetrate the mysteries of life, death, rebirth, discovers the meaning and power of poetry and song, and the destructiveness of uncontrolled human emotions. Tamagna was exquisite, combining perfect tonal quality with substantial power. His voice soared with piercing [sic] sadness and soothed with a silky beauty, giving a glimpse, perhaps, of why castrati voices became the divos of the Baroque era. GO MEMPHIS (JANUARY 26, 2010) CHRISTOPHER BLANK STAGE REVIEW: OPERA MEMPHIS EXPERIMENTAL ORPHEUS IS TOO SAFE On opening night, and again tonight, countertenor Nicholas Tamgna sings the role of Orpheus. Tamagnas impressive filigrees bring weight and substance to a role that can seem a touch comical to modern ears. WASHINGTON POST (OCTOBER 12, 2009) MARK J. ESTREN: BEL CANTANTI GETS GOOD HANDLE ON HANDEL As Cesare, countertenor Nicholas Tamagna handled his complex runs and vocal ornaments fluently through all eight of his arias. OPERA BRITANNIA (OCTOBER 13, 2009) RICHARD GARMISE: GIULIO CESARE IN EGITTO: BEL CANTANTI, WASHINGTON DC, 10TH OCTOBER 2009 It is even more impressive that, with Giulio Cesare, Bel Cantanti is highlighting a young American countertenor as Cesare, Nicholas Tamagna, who looks to be one of the most remarkable performers in his vocal range to emerge over the last few decades. Tamagna, who according to his biography only made his professional debut earlier this year, has sung both the typical neophytes range of the new and the unusual (including a thoroughly demented Ulrica in stage and concert versions this reviewer can attest on personal experience to Tamagnas ability to handle that roles vocal range without compromise or strain), displays a countertenor voice unlike any other. In general terms, one can divide countertenors into those who sing with a certain clean purity of sound and those who sacrifice purity (or just attain it) to an almost shrill and more dramatic sound. My current favorites in this voice type are Andreas Scholl, Lawrence Zazzo and the currently less-active Michael Chance, but no matter what the theatrical and musical instincts, and however beautiful the sound (in the case of Scholl), the voices themselves necessarily tend to the monochromatic and usually have difficulty blending with other voice types, which have much greater resonance. To these


ears, in fact, a countertenor in opera usually pales after a short period the tonal palette is too limited and the dynamic range constricted. Tamagnas sound can be described as that of a sexy, masculine, English alto it is richly colored, deep in texture, and capable of great dynamic range. What came to mind on more than one occasion on Saturday night was the tonal palette of such singers as Kathleen Ferrier (whose actual range I believe Tamagna exceeds) and Dame Janet Baker. In fact, Tamagnas countertenor sound is so substantial that although his occasional descents into chest voice show a necessary difference in resonance and vocal weight, there is no perceptible change in vocal color, and no weakness in sound in the notes just about the chest, where countertenors are often at their most vulnerable. What one gets is a masculine countertenor sound, but with all the coloratura flexibility and HIP-ness of the voice type. Not for a moment did Tamagnas voice grate, and in Cesares great set piece, Va tacito e nascosto, the depth of sound was simply thrilling, and matched entirely the mood of the aria; in his duet with Cleopatra, Caro/Bella, Tamagnas sound had all the presence and body of his colleague, and there was no need to suspend disbelief that this was a male Cesare hot in love with his Cleopatra. OPERA TODAY (JUNE 24, 2009) JOHN YOHALEM: A MASKED BALL BY BROOKLYN REPERTORY OPERA Then out came Ulrica you know the fortune teller the Marian Anderson/Ewa Podles role. Already there had been intimations of surprise, in references in the first scene, to a magician named Ulrico. (Why not just Ulrich?) I seized the program and, staggered, read the name: Nicholas Tamagna Mr. Tamagna, a countertenor who usually sings roles like Orfeo (last April at the Brooklyn Rep, sorry I missed it) and Handels Cesare (in D.C. in the fall), earned his Book of World Records (and Wikipedia) moment as the first man ever to sing this diehard mezzo role in a full performance of Verdis opera. A slim figure with a shaven head and satanic contact lenses, he sang it all in a room of considerable size, remember in a seamless top-to-bottom alto with no hootiness, no doubtful support, loud as anyone (and everyone) else in a healthy cast, the phrases as beautiful as their eldritch import allowed. (Verdi didnt want his witches to sound too beautiful, you know.) It was a totally astonishing performance, and in five minutes conquered what reservations I had and Im a stickler for certain traditions. Tamagnas has an alto in which I wished to bask.

Nicholas Tamagna | Countertenor 6

N I C H O L A S T A M A G N A

OPERA ROLES DATE OPERA

2011 2011 2011 2011 2010 2010 2010 2010 2010 2010 2009 2009 2009 2009

COMPANY

ROLE
Jean-Marie Pane Farnace Ruggiero Witch Prince Orlofsky The Sorceress Tolomeo Milos/Soloist Orpheus Giulio Cesare Soloist Billy Orpheus

Les Leons (Ionel Petroi) La Calisto (Cavalli) Mitridate (Mozart) Alcina (Handel) Hansel and Gretel (Humperdink) Die Fledermaus (J. Strauss) Dido and Aeneas (Purcell) Giulio Cesare in Egitto (Handel) The Hunger Art / Gonzales Cantata Orpheus and Eurydice (Gluck) Giulio Cesare in Egitto (Handel) Gonzales Cantata (Dunphy) Hand of Poker (R. Burke) Orpheus and Eurydice (Gluck)

Workshop (for Avignon, France) (NY) Vertical Players Repertory (NY) Little Opera Theater of New York Pocket Opera of New York Amore Opera (NY) Amore Opera (NY) STC Concerts (NY) Opera London (London, Ontario) (cover) Burning Bayreuth at Bard College (NY) Opera Memphis (TN) Bel Cantanti Opera (DC) Philly Fringe Festival (PA) Hunter Opera Workshop (NY) Brooklyn Repertory Opera (NY)

CONCERT SOLOIST AND SCENES DATE COMPANY

2012 2011 2011 2011 2010-11 2010 2010 2010 2009 2009 2008-09 2008 2008

COMPETITIONS/AWARDS DATE ORGANIZATION

2011 2011 2011

PERFORMANCE/ROLE Greenwich Village Singers (NY) Bach B Minor Mass (alto) La Fiocca Ensemble (NJ) The English Royalists (alto soloist) : Purcell/Blow ARTEK Midtown Concert Series (NY) Passionate Love Duets of the Baroque Pocket Opera of New York An Evening of Baroque Opera (Arias and Duets) Amor Artis (NY) All-Bach New Years Eve Concert alto soloist Fairfield Chorale Messiah (CT) Alto soloist Canadian Operatic Arts Academy (ON) Scenes from La Calisto (Cavalli) Endimione David et Jonathas (Charpentier): La Pythonisse Christ Church and St. Stephens (NY) El Nio (J. Adams) Countertenor I One World Symphony (NY) Rckert Lieder: Ich bin der Welt Soloist Amor Artis (NY) All-Bach New Years Eve Concert Alto Soloist Gloria Parker Singer Showcase (NY) Midsummer Nights Dream (B. Britten) Oberon Flight (J. Dove) Refugee The Rakes Progress (Stravinsky) Baba the Turk Hunter Symphony (NY) Utrecht Jubilate (G.F. Handel) Alto Soloist 46 Barrow Street Recital Series (NY) Les Ariettes Oublies (C. Debussy) Les Banalits (F. Poulenc)

Nico Castel Mastersinger Finals Concert Winner 2011 (at Weill Recital Hall) Gianni Bergamo Competition for Countertenors Semi-Finalist (in Lugano, Switzerland) Arkadi Foundation Finals Semi-Finalist (at Merkin Hall)

ACADEMIC PREPARATION
B.A./M.A. in Voice, City University of New York at Hunter College, 2004-07 Concentration in Voice, French, Piano, Composition, and Vocal Pedagogy B.M. Voice Performance, Manhattan School of Music, 2002-2004 (transfer) Concentration in Opera Studies and Voice B.Mus.Ed., University of North Carolina, 2000-2002 (transfer) Concentration in Piano, Voice, Music Education, Languages, and Opera Studies

TRAINING PROGRAMS/ MASTERCLASSES

Canadian Operatic Arts Academy (2010); Crittenden Opera Workshop (2007); Operafestival di Roma (2002); William Hicks (2008-10); Gary Wedow(2010); Ted Baerg(2010); Jack Grinhaus(2010); Martin Katz(2010); Katherine LaBouff(2004); Chantal Lambert(2010); Eric Melear(2010); Marlena Malas(2003)

REFERENCES
Alissa Grimaldi, Voice Teacher, 212.679.3461 Michael Ching, Conductor and (Past) AD of Opera Memphis, 901.828.3099 Susan Morton, Coach/Conductor, 212.663.0007 Gloria Parker, Coach/Director, 917.495.4997 Jennifer Petersen, Coach/Conductor, 917.520.3163 Sophie Roland, (Canada) Director and COAA/Opera London Director, 812.369.1839


C O N T A C T

NICHOLAS TAMAGNA
5 E. 44th St. Apt. 16
New York, NY 10017 646.712.4208 nicholastamagna@nicholastamagn a.com

www.nicholastamagna.com
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Nicholas Tamagna | Countertenor