Luciano Botelho is represented by Rayfield Allied worldwide (excluding Brazil).
Associate Artist Manager:
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
Brazilian tenor, Luciano Botelho, begins the 2012-13 Season with his appearance as Giacomo La Donna del Lago at Theater an der Wien, a role he previously inaugurated at Grand Théâtre de Genève with Joyce diDonato. He travels to Japan to New National Theatre Tokyo where he appears as Almaviva Il Barbiere di Siviglia and continues to Germany where he sings the role of Percy Anna Bolena at Oper Koeln. He travels to France for Don Ramiro La Cenerentola at Opéra de Massy. He later returns to Oper Stuttgart for revival performances of Elvino La Sonnambula.
Recent successes include the revival of Orfeé Orfeé et Euridice and his role debut as Elvino La Sonnambula at Oper Stuttgart; He further won great acclaim at Caramoor Festival under the baton of Will Crutchfield in the role of Chalais Maria de Rohan, as Ramiro in Glyndebourne’s touring production of La Cenerentola and as Fenton Falstaff in Nantes, Angers and Rennes.
Previously, the artist appeared at Royal Opera House, Covent Garden as Almaviva Il Barbiere di Siviglia and as the Intendante Linda di Chamonix in performances recorded by Opera Rara. His debut as Don Ramiro at Malmö Opera, Sweden, followed, and he made a European concert tour with Julianne Banse and Saarbrucken Radio Symphony Orchestra. Under the baton of Jean-Christoph Spinosi at Théâtre du Châtelet in Paris he appeared as Flavio Norma, and followed with his Salzburg Festival debut in the same role with Joyce diDonato and Edita Gruberova. He appeared at Opéra Dijon as Nemorino L’Elisir d’Amore.
Luciano Botelho’s first professional appearance on the operatic stage took place in his home country, Brasil, in 2001 as Tamino Die Zauberflöte in the Amazonas Opera Festival; he also sang Don Ottavio Don Giovanni, Ramiro and Il Conte Almaviva, and went on to receive critical acclaim for his performances of Fadinard in Rota’s Il Cappello di Paglia di Firenze, and Le Berger Oedipus Rex.
Mr Botelho graduated with a degree in music from the University of Rio, and completed a postgraduate diploma in vocal studies and the opera programme at the Guildhall School and Music and Drama in London. He later graduated from the Cardiff Academy of Voice under the guidance of Dennis O’Neill, and participated in the 2007 BBC Cardiff Singer of the World Competition.
Other roles in his repertoire include Nadir Les Pêcheurs des Perles; Tebaldo I Capuleti e i Montecchi, title role La Favola d’Orfeo (Monteverdi), Il Principe La bella dormente nell bosco (Respighi), Rinuccio Gianni Schicchi, Faust La Damnation de Faust, Libenskof Il Viaggio a Rheims, title role Le Comte Ory, Gianetto La Gazza Ladra.
Frequently found in concert, Mr Botelho’s repertoire includes Mozart’s Requiem and C Minor Mass, Bach’s Magnificat, Rossini’s Petite Messe Solennelle and Stabat Mater, Puccini’s Messa di Gloria, Orff’s Carmina Burana, Handel’s Messiah, Berlioz’s Roméo et Juliette and La Damnation de Faust, Szymanowsky’s Harnasie, Ramirez’s Missa criolla and Buxtehude’s Oratorio de Natal.
Past engagements include Percy Anna Bolena with English Touring Opera, Tonio La Fille du Regiment at Opera Holland Park, Ferrando Cosi fan tutte at Verbier Festival, Rossini’s Stabat Mater at Santa Cecilia Rome, Corradino Matilde di Shabran (cover) at ROH Covent Garden, Leicester Maria Stuarda at Nationaltheater Mannheim, and Gennaro Lucrezia Borgia at Polish National Opera.
Future engagements include Rossini’s Stabat Mater with Orquestra Sinfônica do Estado de São Paulo (OSESP).
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
La Cenerentola, Glyndebourne
Luciano Botelho as her suitor Ramiro confirmed that he has the makings of a front-ranking bel canto tenor.Rupert Christiansen, The Daily Telegraph
Don Ramiro also has some showpiece arias, and Luciano Botelho carries these off with ease; his study of the prince suggests a young man just growing into emotional as well as intellectual maturityAnne-Morley Priestman, WhatsonStage
Luciano Botelho sings the role of Don Ramiro with crystal clear, firm and confident voice, producing beautiful high notes.James Estapà, Opera Actual
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 InternationalVivien 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