Nicola Amodio

Nicola Amodio

…..Besonders positiv an diesem Abend war die Besetzung des Hylas, Nicola Amodio war der absolute Höhepunkt des Abend, ein wunderbare durchgebildete ansprechende hohe Tenorstimme
Ihr Opernratgeber

…..und ganz besonders Nicola Amodio mit dem wunderbaren Weltabschiedslied des Matrosen Hylas ganz ungekürzt.
​– Online Merker

Nicola Amodio gab dem Liebhaber Fenton in seinem Liebeslied im letzten Bild kraftvolle Höhen
Weser Kurier

Nicola Amodio gab dem Liebhaber Fenton als wäre ihm die Rolle auf dem Leib geschrieben.
Kultur Extrav

Als deren Geliebter (Fenton) glänzt der Tenor Nicola Amodio mit weichem Glanz in der Stimme.
MWZ Online

Born in Italy, Nicola Amodio studied voice and composition at the N. Piccinni Conservatory in Bari, as well as music and performance at the University of Lecce. He received his training in the Rossini repertory with M° Alberto Zedda at the Accademia Rossiniana, Pesaro, and with the tenor William Matteuzzi. Master classes with Sergio Segalini at the Academy Paolo Grassi, Martina Franca, and special seminars in the art of baroque singing at the Department of Musicology and Musica Antica at the Conservatory of Bari completed his training. He is currently engaged at the Oldenburgisches Staatstheater where he sings such roles as Fenton in Falstaff, George Brown (La Dame Blanche) and Augustin Magaldi in Evita.

His repertoire includes many operas by Gioacchino Rossini, including rarely performed works such as Armida; Mozart’s Bastien et Bastienne and Così fan tutte, and operas by Giovanni Paisiello and Niccolò Piccinni. He reaped considerable success singing Tonio in La Fille du Regiment, a role which he performed throughout England and at the festivals of Opéra d’été en Bourgogne, Dijon; de la Vézère, Brive; Les Azuriales, Cap Ferrat, France and in Neuchâtel. He also worked at the Festival della Valle d’Itria, Martina Franca, where he sang Gli amori di Teolinda by Giacomo Meyerbeer, and Giove a Pompei by Alberto Franchetti and Umberto Giordano.

He has worked with such stage directors as Jean-Louis Pichon, Denis Krief, Damiano Michieletto, Stefano Monti, Marco Gandini, Alessio Pizzech and Martin Duncan.

Important counter-balances to his operatic work have been numerous appearances in oratorios. Here, his focus has been on the great sacred works of Bach, Haydn and Mozart with special mention of his interpretation of works such as Responsorio Feria V in Coena Domini by Carlo Gesualdo Principe di Venosa, under the baton of Alan Curtis in Santiago de Compostela, Spain; and Pietro in Salieri’s Passione di Gesù Cristo. Nicola Amodio’s recordings, for the Italian label ’Dynamic’, include I Capuleti e i Montecchi (Bellini), Polyeucte (Charles Gounod), I giochi d’Agrigento (Giovanni Paisiello), Il Re Pastore (Niccolò Piccinni), Salomé (Richard Strauss), and L’Italiana in Algeri. For Edizioni Paoline, he has recorded over 10 CDs with sacred and liturgical music.

Recent engagements include La Calisto (Pane and La Natura) at the Hessisches Staatstheater in Wiesbaden and Hänsel und Gretel (Die Hexe) at the Oldenburgisches Staatstheater. Last season he made his début at the Hamburg State Opera as Hylas in Les Troyens and Ruodi in William Tell. For 2017, he will reprise the role of Ruodi in Hamburg State Opera’s revival of William Tell.

Vincenzo Bellini – I Capuleti e Montecchi – Lorenzo
Recording for Dynamic Records; Festival della Valle d’Itria, Martina Franca
Gaetano Donizetti – La Fille du Régiment – Tonio
Festival Opéra d’Été en Bourgogne, Dijon (Théâtre des Feuillants, Château de Fontaine-Française); Festival de la Vézère, Brive-la-Gaillarde, France (Château du Saillant ; Le Festival d’Opéra Les Azuriales, Cap Ferrat (Villa Ephrussi Rothschild); Théâtre du Passage Neuchâtel, Switzerland; Holkham Hall, Norfolk, U.K.; Stuckeridge House, Devon, U.K.; Syon Park, London; Whittaker Hall, Guernsey; Château d’Hardelot, Boulogne sur Mer, France ; Lulworth Castle, Dorset, U.K.; Draper’s Hall, London
Charles Gounod – Polyeucte – Sextus
Recording for Dynamic Records; Festival della Valle d’Itria, Martina Franca
Wolfgang Amadeus Mozart – Bastien et Bastienne – Bastien
Festival del Cilento in Musica, Salerno; Teatro di Cagno, Bari
Wolfgang Amadeus Mozart – Così fan tutte – Ferrando
Lyrique-en-Mer, Festival de Belle-Île-en-Mer
Giovanni Paisiello – I giuochi d’Agrigento – Filosseno
Recording for Dynamic Records; Festival della Valle d’Itria, Martina Franca
Niccolò Piccinni – Il re pastore – Alessandro
Recording for Dynamic Records; Festival della Valle d’Itria, Martina Franca
Gioacchino Rossini – Armida – Rinaldo
St. John’s Smith Square, London; Garsington Opera (cover)
Gioacchino Rossini – Il barbiere di Siviglia – Conte di Almaviva
Teatro Comunale di Belluno; Teatro di Schlander, Bolzano; Palazzo Barbarigo, Venezia
Gioacchino Rossini – La Cenerentola – Don Ramiro
Teatro Sociale di Como; Teatro Sociale, Lecco; Teatro Sociale di Montichiari, Brescia; Teatro Gassman di Gallarate; Teatro Sociale di Stradella, Pavia; Teatro Comunale di Casalpusterlengo, Lodi
Gioacchino Rossini – L’Italiana in Algieri – Lindoro
Recording for Settimane Musicali al Teatro Olimpico; Teatro Olimpico di Vicenza.
Richard Strauss – Salome – 1. Jude
Recording for Dynamic Records; Festival della Valle d’Itria, Martina Franca.

Johann Sebastian Bach
Ein feste Burg, Cantata 80
Hector Berlioz
Lelio ou Le retour à la vie, op. 14 b
Symphonie fantastique, épisode de la vie d’un artiste, op. 14
Alberto Franchetti / Umberto Giordano
Giove a Pompei
Don Carlo Gesualdo, Principe di Venosa
Responsorio Feria V in Coena Domini
Joseph Haydn
Die Schöpfung – Uriel
Leonardo Leo
Oratorio per il Santo Natale – Arcangelo Gabriele
Giacomo Meyerbeer
Gli amori di Teolinda
Wolfgang Amadeus Mozart
Litaniae Lauretanae D-Dur, KV 195
Vesperae Solennes de Confessore
Camille Saint-Saëns
Oratorio de Noël, op. 12
Antonio Salieri
Passione di Gesù Cristo – Pietro
Giacomo Tritto
Il disinganno – Sebeto