OPERA BIO
Giuseppe Annunziato, baritone (formerly Joseph Michael Brent, tenor) is a stentorian baritone on the horizon of an exciting new career path. While Giuseppe initially experienced substantial success as a full lyric tenor, it has become clear that his most authentic artistic self is in-sync with the burnished, robust baritone repertoire. Thus, he has thoughtfully and diligently re-studied vocally to reveal himself as a true Verdian and Verismo baritone. This includes such complex and dramatic roles as Ezio in Attila, Renato in Un Ballo in Maschera, Conte di Luna in Il Trovatore, Enrico in Lucia di Lammermoor, and Germont in La Traviata, among others.
As a tenor, Giuseppe Annunziato outstandingly debuted with Taconic Opera last season in his first Chevalier des Grieux in Massenet’s Manon. An extremely versatile artist who is consistently re-engaged wherever he appears, Mr. Annunziato has performed to enthusiastic response with Maryland Lyric Opera, the Metropolitan Opera Guild, the Lyric Opera Studio of Weimar (Germany), Bronx Opera, Opera Theater Pittsburgh, Capitol City Opera, U.G.A. Opera Theater, and the New York Opera Exchange.
Previously, Mr. Annunziato was the inaugural tenor Resident Artist of the Michigan Opera Theatre (“MOT”) Studio, under the artistic direction of internationally-acclaimed tenor, Richard Leech and the late opera impresario, Dr. David DiChiera. His roles included Theodore “Laurie” Lawrence in Little Women, Martin in The Tender Land, the Kronprinz in Silent Night, Malcolm in Macbeth, Trin in La Fanciulla del West, and Remendado in Carmen. Before joining the MOT Studio, Mr. Annunziato had sung many of the significant roles in the operatic tenor repertoire including the title role in Les Contes d’Hoffmann with Martina Arroyo Foundation’s “Prelude to Performance”, Edgardo in Lucia di Lammermoor, Don Jose in Carmen, Rodolfo in La Boheme, B.F. Pinkerton in Madama Butterfly, the title role in Albert Herring, Tamino in Die Zauberflote, and Nemorino in L’Elisir d’Amore.
Also a sought-after concert soloist and recitalist, Giuseppe Annunziato made his auspicious Carnegie Hall debut in 2013 singing the roles of Wagner and Nereo in Boito’s Mefistofele with the Master Voices (formerly the Collegiate Chorale) and the American Symphony Orchestra. Mr. Annunziato has performed at The White House, David Geffen Hall (formerly Avery Fisher Hall) Salone Pedrotti at the Rossini Conservatory, Teatro Titano (San Marino), Sant’Agnese in Piazza Navona (Rome, Italy), Stefaniensaal (Graz, Austria), Theater im Schlossgarten (Arnstadt, Germany), the New York State Theatre, and Symphony Space New York. With such noteworthy organizations as the Rockland County Choral Society of NY, Montgomery Philharmonic, Orchestra Nepal, the American and Detroit Symphony Orchestras, he has presented Ralph Vaughan Williams’ song cycle for tenor and piano quintet, On Wenlock Edge at Detroit’s Scarab Club, premiered works by composers Michael Fiacc, Gilda Lyons and Mitchell Bach, and performed as tenor soloist in Beethoven’s Symphony No. 9, Mozart’s Requiem, Handel’s Messiah, the Saint-Saens’ Christmas Oratorio, Gounod’s Messe sollennelle, Schubert’s Mass in B-flat, D. 234, and the U.S.A. National Anthem for the San Francisco Giants. Mr. Annunziato has collaborated with such celebrated conductors as Louis Salemno, Karen Kamensek, Imre Pallo, Robert Lyall, Stephen Lord, Joseph Rescigno, David Abel, Valerio Galli and James Meena, as well as Kathryn Wright, Kathleen Kelly, Martin Katz, Elaine Rinaldi, Timothy Cheek and the late Joan Krueger.
A native New Yorker, Giuseppe Annunziato earned his Doctor of Musical Arts degree from the University of Georgia, with a dissertation on selected vocal works of Giovanni Paolo Bottesini. Mr. Annunziato is a proud graduate of the Frank Sinatra School of the Arts and holds an undergraduate degree from the Conservatory of Music at Purchase College S.U.N.Y., where he studied double bass with principal bassist of the New York Philharmonic, Timothy Cobb. As a vocalist, he was a student of Frederick Burchinal and currently studies with William Stone.
VIDEO
Tregua è cogl’Unni…Dagl’immortali vertici / Attila (Verdi)
Alla vita che t’arride / Un Ballo in Maschera (Verdi)
RESUME
| OPERA / OPERETTA | ||
| 2022 | ||
| Des Grieux | Manon | Taconic Opera |
| Basilio | Le Nozze di Figaro | Maryland Lyric Opera |
| 2021 | ||
| Pang | Turandot | Maryland Lyric Opera |
| Nicias | Thais | Maryland Lyric Opera |
| 2019 | ||
| Tinca | Il Tabarro | Maryland Lyric Opera |
| Alfred | Die Fledermaus | Lyric Opera Studio Weimar (Germany) |
| 2018 | ||
| Nick | La Fanciulla del West | Maryland Lyric Opera |
| 2017 | ||
| D’Artagnan | Les Trois Mousquetaires | Phoenicia International Festival |
| Trin | La Fanciulla del West | Michigan Opera Theatre |
| Theodore “Laurie” Lawrence | Little Women | Michigan Opera Theatre |
| 2016 | ||
| Kron Prinz | Silent Night | Michigan Opera Theatre |
| El Remendado (Jose cover) | Carmen | Michigan Opera Theatre |
| Armored Man (Tamino cover) | The Magic Flute | Michigan Opera Theatre |
| Malcolm (Macduff cover) | Macbeth | Michigan Opera Theatre |
| Martin | The Tender Land | Michigan Opera Theatre |
| 2015 | ||
| B.F. Pinkerton | Madama Butterfly | Quisisana Resort |
| Don Jose’ | Carmen | New York Opera Exchange |
| Edgardo | Lucia di Lammermoor | New York Opera Exchange |
| Mayor (Albert cover) | Albert Herring | Bronx Opera |
| 2014 | ||
| Camille de Rosillon | The Merry Widow | Capitol City Opera |
| Camille de Rosillon | The Merry Widow | Opera Theater Pittsburgh |
| Nemorino | L’Elisir d’Amore | U.G.A. Opera Theater |
| 2013 | ||
| Wagner / Nereo | Mefistofele | New York Collegiate Chorale |
| E.T.A. Hoffman | Les Contes d’Hoffman | Martina Arroyo Foundation |
| Tamino | Die Zauberflote | U.G.A. Opera Theater |
| 2012 | ||
| Rodolfo | La Boheme | La Musica Lyrica |
| Frederick | The Pirates of Penzance | U.G.A. Opera Theater |
| 2011 | ||
| Gaston (Alfredo cover) | La Traviata | International Festival of the Aegean |
| Eisenstein | Die Fledermaus | U.G.A. Opera Theater |
| ORATORIO / CONCERT / RECITAL | 2022 | |
| Tenor Soloist | “The Many Sounds of Verdi”: (Radames (Aida) / Aldredo (La Traviata) / Don Carlo (Don Carlo) | Metropolitan Opera Guild |
| Tenor Soloist | “On Tour! Spring 2022”: Don Jose (Carmen) / Duke (Rigoletto) | Metropolitan Opera Guild |
| ORATORIO / CONCERT / RECITAL | 2018 | |
| Tenor Soloist | Beethoven “An die Freude” Symphonie No. 9, Op. 125 | Montgomery Philharmonic, MD |
| 2016 | ||
| Featured Soloist | On Wenlock Edge | Michigan Opera Theatre, MI |
| Tenor Soloist | Schubert Mass in Bb, D. 234 | Assumption Grotto Cathedral, MI |
| Tenor Soloist | Mozart Regina Coeli, K. 276 | Assumption Grotto Cathedral, MI |
| Tenor Soloist | Mozart Missa Brevis in C, K. 258 | Assumption Grotto Cathedral, MI |
| 2015 | ||
| Tenor Soloist | Composers Concert: Premier Works by Composer Michael Fiacc | Empire Opera, NYC |
| Tenor Soloist | Mozart Requiem, K. 626 | Orchestra Nepal, NYC |
| Tenor Soloist | Beethoven “An die Freude” Symphonie No. 9, Op. 125 | GAMAC, Anderson, SC |
| 2014 | ||
| Tenor Soloist | Handel Messiah | Archdiocesan Cathedral of the Holy Trinity, NY |
| Tenor Soloist | Saint-Saens Oratorio | Rockland County Choral Society, NY |
| Tenor Soloist | Gounod Messe sollennelle | Rockland County Choral Society, NY |
| COMPETITIONS / AWARDS | ||
| Faith Geier Artist | Collegiate Chorale / Faith Geier Artist Initiative | 2013 |
| Hoveland Opera Fellowship | University of Georgia | 2013 |
| Encouragement Award | Metropolitan Opera National Council Auditions; Georgia | 2012 |
| First Place Winner | Atlantic Music Club Scholarship Competition | 2012 |
| First Place Winner | U.G.A.S.O Concerto Competition | 2011 |
| YOUNG ARTIST PROGRAMS | ||
| Resident Artist | Lyric Opera Studio (Weimar, Germany) | 2019 |
| Resident Artist | Michigan Opera Theatre | 2016/2017 |
| EDUCATION | ||
| D.M.A. / Vocal Performance | University of Georgia; Athens | 2014 |
| M.M. / Vocal Performance | University of Georgia; Athens | 2013 |
| B.M. / Instrumental Performance (Double Bass) | Conservatory of Music; Purchase College S.U.N.Y. | 2009 |
CAREER INFLUENCES
Conductors: Louis Salemno, Olaf Storbeck, Karen Kamensek, David Charles Abell, Imre Pallo, Robert Lyall, Stephen Lord, Joseph Rescigno, Valerio Galli, James Meena
Directors: Damon Nestor Plumis, Lawrence Edelson, Kristine McIntyre, E. Loren Meeker
Vocal Coaches: John Norris, Martin Katz, Kathleen Kelly, Joan Krueger, Elaine Rinaldi, Kathryn Wright
Voice Teachers: William Stone, Ron Raines, Richard Leech, Frederick Burchinal
CRITICAL ACCLAIM
Die Fledermaus / Lyric Opera Studio (Weimar, Germany)
“Alfred, Joseph Michel Brent aus den USA, konnte schon mit seiner ersten Belcanto-Arie mit lyrischer Tenorstimme punkten und rührte damit das Arnstädter Publikum. Das „Täubchen, das enflattert ist, stille mein Verlangen…“ brachte Sofortapplaus.”
TRANSLATED: “Alfred, Joseph Michel Brent from the USA, scored with his first bel canto aria with lyric tenor voice and touched the Arnstädter audience. The “Täubchen, das enflattert ist, stille mein Verlangen…“ brought instant applause.”
-Larissa Gawritschenko und Thomas Janda
https://onlinemerker.com/arnstadt-die-fledermaus…/
The Merry Widow / Capitol City Opera (Pittsburgh)
“Tenor Joseph Brent was an unkempt Camille with splendid high notes.
– Pittsburgh Post-Gazette”
Little Women / Michigan Opera Theatre
“Joseph Michael Brent as Laurie, Jo’s close friend and unbeknownst suitor, brought a youthful exuberance and sweetness to his role.”
– Graham Mitchell, Encore Michigan
Les Contes d’Hoffman / Martina Arroyo Foundation
“Joseph Michael Brent had a pleasing instrument, although his enthusiastic presence and idiosyncratic costume seemed to recall a youthful version of the title character on Doctor Who. That said, he sang the big arias with sweet, compelling tone, hitting the right emotional notes in the Kleinzach song and the big duet with Antonia in Act II.”
Albert Herring / Bronx Opera
“The cover Albert, Joseph Michael Brent, sang Mayor Upfold with a penetrating sound and remarkably projected diction (the best of the entire cast).”
– David Shengold Opera News (Albert Herring NEW YORK CITY Bronx Opera 1/17/15)
The Magic Flute / Michigan Opera Theatre
” Tenor Michael Brent … demonstrated crisp comedic timing as Priests and Armored Men.”
– Opera News (The Magic Flute DETROIT Michigan Opera Theater 5/14/16)
Mefistofele / New York Collegiate Chorale
“Tenor Joseph Michael Brent handled supporting roles creditably.”
– David J Baker Opera News (Mefistofele NEW YORK CITY James Bagwell & American Symphony Orchestra, Collegiate Chorale | Carnegie Hall 11/6/13)
The Tender Land / Michigan Opera Theatre
“Tenor Joseph Michael Brent’s Martin was a sober companion to Top, played significantly older than the soontograduate Laurie. With only slight difficulty at the top of his substantial range Brent’s tone was always inviting and warm, although his delivery was sometimes too formal.”
– Jennifer Goltz-Tayolr Opera News (The Tender Land DETROIT Michigan Opera Theater 3/12/16)
Lucia di Lammermoor / New York Opera Exchange
“As Lucia’s ill-fated lover Edgardo, tenor Joseph Michael Brent sang well and exhibited all the requisite emotions except for one; we wanted to see some tenderness toward Lucia in their initial scene together to explain why she would have defied her family to pledge her love to him. He did much better in the scene in which he returns from France to find Lucia married to Arturo and bristled with anger.”
– http://www.vocedimeche.reviews/2015/03/adam-fieldson-john-viscardi-sarah.html
“Tenor Joseph Michael Brent made me weep too, his sound is beautiful, round and tender but also agile and powerful. Brent is truly a romantic hero, with a handsome stage presence and an expressiveness to match. He also worked great in his duets with both Lucia (Ah! Verranno a te sull’aure) and Enrico (O sole più rapido a sorger t’appresta). In his arias in the finale, Brent was heart breaking, particularly in Fra poco a me ricovero, when Egardo still thinks that Lucia betrayed him. He may have rushed a touch too much in Tu che a Dio spiegasti l’ali, but otherwise proved himself as a swooningly excellent tenor.”
“Brent’s Tu che a Dio spiegasti l’ali might have come out a bit rushed, but I nevertheless felt that the tempo gave the ending an appropriate sense of urgency. It is certainly one way to take Edgardo’s final spellbinding suicide aria, though it may not the most contemplative interpretation. I found it emotionally raw and true to the character in the throes of his big exit from this world. Though I admit I have a weak spot for the plaintive repetition of “bell’alma innamorata” with which the opera ends. I found Brent very confident with his diction. His Italian was very good as was the sound of his voice, which is on the middle to higher end of the tenor spectrum but still remains very manly. He owned his every move in his delivery of this most moving of finales.”
– Both from https://allegriconfuoco.blogspot.com/2015/03/a-mad-bride-her-lover-and-evil-brother.html (Edgardo – Lucia 2015)
Don Giovanni / Maryland Lyric Opera
“Tenor Joseph Michael Brent (who also holds a doctoral degree) … made [his] appearance in the Don Giovanni excerpts. Mr. Brent delivered Don Ottavio’s aria of adoration of Donna Anna with sonorous brilliance. I though Mr. Brent was good when first I heard him a year ago. He is now even better, a career worth following. Kudos to him and to the MDLO team.”
http://operagene.com/…/mdlos-an-evening-of-mozart-how.
Thais / Maryland Lyric Opera
Also from operagene ” Tenor Joseph Michael Brent was very convincing as the epicurean Nicias. Mr. Brent sang impressively in his role and seemed very natural on stage.” (Nicias – Thais – MDLO 2020)
