Luciano Botelho is represented by Rayfield Allied worldwide (excluding Brazil).

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Luciano Botelho

Tenor

  • Luciano Botelho succeeds in acting the brute while singing with smooth elegance as Elvino
    Financial Times
  • 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
  • London-based Brazilian tenor, Luciano Botelho, begins the 2014-15 Season in the challenging role of Ruodi the Fisherman in Welsh National Opera’s new production of Guillaume Tell while at the same time covering Osride Mose in Egitto

    Recent successes include his appearance in Sydney at Opera Australia in his house and role debut as Narciso Il Turco in Italia, his role debut as il Duca Rigoletto at Opera de Rennes, and his debut as Giacomo La Donna del Lago at Grand Théâtre de Genêve 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 –a role now at the centre of his repertoire—at Opéra de Massy, for Glyndebourne Touring Opera and at Malmo Opera. 

    In Germany, Mr Botelho made his debut at Oper Koeln as Leicester Maria Stuarda and he appears regularly in Stuttgart, most recently as Elvino in Staatstheater Stuttgart’s acclaimed production of La Sonnambula, which was commercially released on DVD; there he previously inaugurated the role of Orpheé Orpheé et Euridice in a production that was highly lauded and is frequently revived.

    Other highlights include his Covent Garden debut as the Intendante Linda di Chamonix in performances recorded by Opera Rara. He appeared under the baton of Jean-Christophe Spinosi at Théâtre du Châtelet in Paris in the role of Flavio Norma, followed by 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 and as Fenton Falstaff in a new production at Opera de Nantes/Angers which also travelled to Rennes.

    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 of 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.

    • Guillaume Tell, Welsh National Opera
      September 2014

      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
      May 2014

      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
      January 2014

      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.
      Opera Magazine
    • Anna Bolena, Oper Koeln
      February 2013

      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
      January 2012

      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
      March 2011

      Le Fenton de Luciano Botelho, au timbre élégiaque, s’accorde parfaitement avec la Nannetta d’Amanda Forsythe.
      Elisabeth Bouillon, Forum Opera
    • La Cenerentola, Glyndebourne
      October 2010

      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 maturity
      Anne-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
      August 2010

      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
      July 2010

      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
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