…..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.
Symphonie fantastique, épisode de la vie d’un artiste, op. 14
Vesperae Solennes de Confessore