"The Brazilian tenor Luciano Botelho is in astonishing condition... And the amazing flexibility with which he uses the falsetto in the upper register, demonstrates he is a master of bel canto technique..."
Ulrike Gondorf, Deutschlandradio Kultur
"Luciano Botelho as her suitor Ramiro confirmed that he has the makings of a front-ranking bel canto tenor."
The Daily Telegraph
"Luciano Botelho succeeds in acting the brute while singing with smooth elegance as Elvino"
London-based Brazilian tenor, Luciano Botelho, begins the 2016-17 Season as Idamante Idomeneo at Gothenburg Opera in a new production by Graham Vick conducted by Lawrence Cummings. He travels to Brazil for a concert performances of Mozart’s Requiem, and returns to join Scottish Opera as Dorvil La scala di Seta, Rossini’s farca comica conducted by David Parry. The artist joins the Hanover Band for Rossini’s Stabat Mater at St John’s, Smith Square and in Arundel, and returns to Garsington Festival Opera for the role of Narciso Il Turco in Italia again with David Parry at the helm.
The artist made his debut as Narciso at Opera Australia, and traveled to Teatro Municipal de Santiago de Chile and to Opera de Dijon to sing the role again. He made a further role debut as Ernesto Don Pasquale at Theatro Municipal do Rio de Janeiro, and as Ghino Degli Armieri in Donizetti’s rarely performed Pia de’ Tolomei with English Touring Opera. He appeared at Garsington Opera last season as Lindoro L’italiana in Algeri.
Recent highlights include his debut as Giacomo La Donna del Lago at Grand Théâtre de Genève with Joyce diDonato, a role he later revived in a new production at Theater an der Wien. Mr Botelho appeared as Almaviva Il Barbiere di Siviglia at the Royal Opera House Covent Garden and in Japan at Tokyo’s New National Theatre, and sang the role of Don Ramiro La Cenerentola at Opéra de Massy, for Glyndebourne Touring Opera and at Malmo Opera.
Other significant appearances include his Covent Garden debut as the Intendante Linda di Chamonix in performances recorded by Opera Rara; with Jean-Christophe Spinosi at Théâtre du Châtelet as Flavio Norma, followed by his Salzburg Festival debut in the same role with Joyce diDonato and Edita Gruberova.
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The Göteborg Opera, Idomeneo
The Brazilian tenor Luciano Botelho is going from strength to strength and never have I seen him like this: at his sizzling best!
Operalogg, Mogens H Anderson
Tenor Luciano Botelho’s warm interpretation as Idamante...
Goteborgs-Posten, Magnus Haglund
Luciano Botelho as Idamante is an outstanding Mozart interpreter
Svenska Dagbladet, Bo Löfvendahl
Luciano Botelho's warm interpretation forms a highlight in the duet...
Goteborgs Posten, Magnus Haglun
Pia de Tolomei, English Touring Opera
Tenor Luciano Botelho demonstrates strength and a fine tone as Ghino. His bright ring and vocal stamina, allied with an ability to really sing through a line, even at the top and at the quietest dynamic, make his evil swagger disconcertingly enchanting; at times it seems as if he believes his own lies - like Iago his villainy is greater because he has prodigious charm. Botelho rose to the demands of his Act 1 opener, ‘Mi volesti sventurato’, his high-lying phrases pulsing with the energy of grievance; yet, in his duets with Nello and, in Act 2, Pia he revealed a softer tone, suggesting genuine sentiment. Even Ghino’s death scene was convincingly sincere; for once, too, there were no protracted ‘resurrections’ and his demise was all the more affecting for its swiftness. This was an admirable vocal portrayal of an intensely drawn reprobate, who was certainly no cardboard villain.
Claire Seymour, Opera Today, 10 April 2016
Luciano Botelho’s soft-grained tenor helps him create a credibly three-dimensional portrait of the conflicted Ghino.
George Hall, The Guardian, 11 March
As the nefarious Ghino, Luciano Botelho, didn’t force his voice in his cavatina “Non può dirti la parola” and though his character is bitter about Pia’s rebuffing him, the characterisation suggested that he genuinely believes that she was arranging an assignation with an unknown fellow. His upper register had a Kunde-esque edge to it, though the acuto at the end of the cabaletta was hard to hear over the orchestra. His death in between the aria and cabaletta for Nello in Act 2 was a trifle melodramatic but this was overshadowed by a solid portrayal of a nervy, insecure man who repents his scheming, alas too late to effect a happy denouement.
Llŷr Carvana, Opera Britannia, 13 March
For the opera really to work, Ghino has to convince us of his change from serpentine, Iago-like malignancy to a state of complete remorse when he realises that he’s engineered the death of the woman he loves. The tenor Luciano Botelho just about achieved it with his assured technique and impressive range... The centre of his voice, though, is immensely attractive and lyrical, and he has a good line in slippery sensuality and vocal heroics.
Peter Reed, Classical Source, 10 March
As Luciano Botelho discloses his suspicions to Nello, his voice even sounds sly and insinuating… Meanwhile, Ghino has succumbed to Pia’s pleading and realised the awful wrong he has done. As he sets out his new plans, Botelho’s voice loses its sly, spiteful tone and gains warmth. He hastens to the Ghibelline camp, but is fatally injured en route, resulting in a somewhat melodramatic dying confession to Nello.
Catriona Graham, The Opera Critic, 10 April 2016
Luciano Botelho ran the full, wide-ranging gamut of the volatile Ghino, throwing out thrusting top notes and displaying an exciting darkness in his lower registers.
Yehuda Shapiro, Opera Magazine, May 2016
Luciano Botelho, adroitly encompassing Ghino’s high and wide tenor range ...
Colin Davison, Gloucestershire Echo, 13 April 2016
Il turco in Italia, Teatro Municipal de Santiago de Chile
Also a gratifying performance from Luciano Botelho as Don Narciso.
Johnny Teperman, biobio Chile (15 Aug 2015)
In his debut in Chile, playing Don Narciso Brazilian tenor Luciano Botelho exhibited convincing acting skills and a seasoned and virtuoso ideal for Rossini singing...
Ezio Mosciatti, biobio Chile (17 Aug 2015)
Rigoletto, Opera Theatre Company Ireland
In Luciano Botelho there is an efficient, heartless Duke, who shows a cruel blend of vocal appeal and reprehensible behavior.
Michael Dervan, The Irish Times
I found the singing to be of a high quality, with the main characters - ... and Botelho, particularly outstanding. ... I suppose it is somewhat unfair to expect a performer to be a wonderful opera singer and an equally wonderful actor. Botelho, however, did very well in both categories as the epitome of vanity.
Sean Hillen, Examiner
Even stripped to his blue briefs, Luciano Botelho is the clear-voiced swaggering braggart Duke.
Pat O'Keilly, Independent
Brazilian tenor Luciano Botelho was a lean and nimble-voiced Duke.
Cathy Desmond, Irish Examiner
A dramatic Duke from the Brazilian tenor Luciano Botelho.
Ian Fox, Opera Magazine
Guillaume Tell, Welsh National Opera
Luciano Botelho sings the fisherman’s opening song exquisitely: the prototype, perhaps, for Wagner’s Steuermann.
Stephen Walsh, The Arts Desk
Luciano Botelho sang Ruodi’s act one solo with an admirably free and high-lying lyric tenor.
Robert Hugill, Opera Today
Luciano Botelho sang a charming Ruodi.
Mike Smith, Wales Online
Smaller roles were all well taken, especially Luciano Botelho (last-minute luxury casting for the brief but exquisitely drawn role of Ruodi the fisherman in Act One).
Mark Valencia, What's On Stage
Rigoletto, Opera de Rennes
The Brazilian tenor Luciano Botelho, in the role of the Duke of Mantua, immediately showed real vocal qualities and displayed a personality of beautiful convincing authority.
Thierry Martin, Unidivers
We were able to applaud the steadfast Duke of Luciano Botelho, who combined sensitivity and versatility.
Gilles Charlassier, ConcertoNet
Il Turco in Italia, Opera Australia
Brazilian Luciano Botelho as the ineffectual lover who spends much of the evening changing clothes, has a light, clear voice, but one streaked with highly promising colour.
Peter McCallum, The Sydney Morning Herald
The other overseas visitor in the cast is the Brazilian Luciano Botelho as Geronio’s duplicitous ‘friend’ Narciso. Given that the role is eminently surplus to plot requirements, it’s a credit to him that he brings the house down with his second act aria in which, confined to a bathing hut, he drops his pants, deodorises and changes into an Elvis suit (don’t ask – it leads to one of the funniest moments in the show later on…).”
Clive Paget, Limelight
Botelho [has] an attractive voice.
Anna Bolena, Oper Koeln
Luciano Botelho was wonderfully touching in the tenor role of Lord Riccardo Percy. Differentiating well the various layers of the role alternatively, his singing is natural, the sound well-mastered, and flawless top notes.
Michael S. Zerban, Opernnetz
The singers’ performances of the evening are impressive. The Brazilian tenor Luciano Botelho is in astonishing condition. As Percy, he holds the raging passion of this romantic opera hero from beginning to end. And the amazing flexibility with which he uses the falsetto in the upper register, demonstrates he is a master of bel canto technique, the typical Donizetti blend of lyrical smoothness and dramatic power flowing into a single vocal line
Ulrike Gondorf, Deutschlandradio Kultur
La Sonnambula, Stuttgart Opera
Luciano Botelho succeeds in acting the brute while singing with smooth elegance as Elvino.
Shirley Apthorp, Financial Times
Luciano Botelho, the lightweight Brazilian tenor who already starred as Stuttgart's Orphée (in the French version of Gluck's opera), managed rather handsomely in Elvino's stratospheric flights of fancy.
Horst Koegler, Opera
Amina’s groom, Elvino, is viewed by the stage director as an adolescent lightweight so that the slim, beautifully resonant tenor voice of Luciano Botelho was very well suited, also in his acting he portrays well the lanky fellow.
Gerhard Dörr, Opernfreund
And Luciano Botelho is the silky tenor and rich husband Elvino: uncertain in his being and thus prone to spurning - the way a man is.
Peter Hagmann, Neue Zürcher Zeitung
Falstaff, Nantes Angers Opéra
Le Fenton de Luciano Botelho, au timbre élégiaque, s’accorde parfaitement avec la Nannetta d’Amanda Forsythe.
Elisabeth Bouillon, Forum Opera
Norma, Salzburg Festival
Let’s also point out […] two excellent compimari; Ezgi Kutlu […], and Luciano Botelho, a Flavio in whom we can already sense a growing Pollione.
Placido Carrerotti, Forum Opera
Maria di Rohan, Caramoor International Music Festival
Chalais was sung by the Brazilian tenor Luciano Botelho. He displayed a beautiful lyrical tenor voice […], he was quite effective in the tender love duets with Maria.
Lewis M. Schneider, Seen and Heard International
Lewis M. Schneider, Seen and Heard International
Vivien Schweitzer, New York Times
The role of Chalais was sung by Luciano Botelho, a young tenor who – to judge by this performance – has a very bright future ahead of him. The audience was as smitten as Maria from the moment he strode onto the stage to deliver his first aria. Botelho has a bright, clarion lyric tenor voice; a bit on the small side, but agile and under complete control – I couldn’t resist fantasizing his re-creating some of the forgotten Rubini roles. His technique is simply terrific, his approach to singing restrained yet passionate. This is a tenor who doesn’t need to belt every note – and Botelho has them up to d-flat. However, when he partnered with Scott Bearden’s enormous baritone, the voice was clear and bright enough to hold its own.
Dan Foley, The Donizetti Society
Luciano Botelho’s Operatic Repertoire
|BELLINI||I Capuleti e I Montecchni (Tebaldo)
La Sonnambula (Elvino)
|BIZET||Les Pêcheurs des Perles (Nadir)|
|DONIZETTI||Anna Bolena (Percy)
Don Pasquale (Ernesto)
La Fille du Regiment (Tonio)
L'Elisir d'Amore (Nemorino)
Lucia di Lammermoor (Edgardo)
Lucrezia Borgia (Gennaro)
Maria di Rohan (Riccardo)
Maria Stuarda (Leicester)
Pia de' Tolomei
|GLUCK||Orphée et Euridice (Orphée)|
|MONTEVERDI||Orfeo (title role)|
|MOZART||Cosi fan tutte (Ferrando)
Die Zauberflöte (Tamino)
Don Giovanni (Don Ottavio)
|ROTA||Il cappello di Paglia di Firenze (Fadinard)|
|PAISIELLO||Il Barbiere di Siviglia (Conte Almaviva)|
|PUCCINI||Gianni Schicchi (Rinuccio)|
|RESPIGHI||La bella dormente nel bosco (Principe)|
|ROSSINI||Il Barbiere di Siviglia (Conte Almaviva)
Il Turco in Italia (Narciso)
Guillaume Tell (Ruodi)
La Cenerentola (Ramiro)
La Donna del Lago (Giacomo)
La Gazza Ladra (Gianetto)
Le Comte Ory (Comte Ory)
Matilde di Shabran (Corradino)
Moses in Egypt (Osiride)
Rigoletto (Il duca di Mantova)