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Laurent Alvaro

Laurent Alvaro

Bass-baritone

Profile

Among his last and future projects are Comte de Gormas (Le Cid) de Massenet at Opéra de Paris, Méphistophélès (La Damnation de Faust) at Bordeaux, Méphisto (Damnation de Faust) à Ostrava with l’orchestra of Brno, Don Alfonso (Così fan tutte) à Rouen, Golaud à Toulon under the baton of Serge Baudo, à Malmö en Sweden and Limoges,again th four devils  (Les Contes d’Hoffmann) and Méphistophélès (La Damnation de Faust) à Saint-Étienne...

 

Biography

Born in Bordeaux, Laurent Alvaro obtained there his large musical education (piano, bassoon, violin, composing, conducting) before joining the ensemble of Lyon Opera where he sang Demetrius in Britten’s A Midsummer Night’s Dream, directed by Robert Carsen, Schaunard in La Boheme and Jupiter in Orphée aux Enfers, directed by Laurent Pelly, and staged first in Geneve. He performed Ramiro in L’Heure espagnole, Germano in La scala di seta (Festival Rossini Bad Wildbad), Le Dancaire in Carmen (Geneve, Reykjavik), Ned Keen in Peter Grimes, Albert in Werther (Tours), also Ping in Turandot (Zhang Yimou, stage director; Paris, Munich). He appeared at Concertgebouw in Amsterdam, Barbican Center in London, at the Festival in Ravenna (Italy) and at the Festival of Radio France in Montpellier. Regularly invited at Théâtre du Châtelet Paris, Laurent Alvaro was heard there as Donner in Das Rheingold, directed by Robert Wilson, Di Cosimo in Daniel Catan’s Il Postino, Morald in Wagner’s Die Feen, Ragueneau in Cyrano de Bergerac, Max in The Sound of Music, Coquenard in Véronique, Gora in Padmâvatî, and the title role of Gualtiero Dazzi’s Luthier de Venise. Following his new repertoire of bass-baritone, Laurent Alvaro has already performed leading roles such as Golaud in Pelléas et Mélisande (Montpellier), Seth Brundle in Howard Shore’s The Fly directed by David Cronenberg and Placido Domingo, Frere Léon in  Saint François d’Assise, Wotan in Das Rheingold (Orchestre Symphonique de Montréal), Frank Maurrant in Stree Scene, Le marquis de la Force in Dialogues des Carmélites (Toulon), Léandre in  L’Amour des Trois Oranges, Pandolfe in Massenet’s Cendrillon (Opéra-Comique de Paris, Konzerthaus Wien, Saint-Etienne, Luxembourg), Pietro in La Muette de Portici (Opéra-Comique Paris), Crespel in Les Contes d’Hoffmann (Sale Pleyel Paris, Marc Minkowski, conductor). Recently he made his debut at the Netherlands Opera in Amsterdam as Thoas in Iphigénie en Tauride and Arcas in Iphigénie en Aulide and also at Teatro Real in Madrid as Ragueneau in Cyrano de Bergerac. Laurent Alvaro works on the repertoire of Lied and La mélodie francaise together with Ruben Lifschitz. Recently he made his debut in Winterreise at Festival de Sablé-sur-Sarthe with the pianist Michael Guido. He is often invited by Jean-Francois Zygel in concert performances, radio and television.  Among his future projects are Ravel’s Les Tréteaux de Maître Pierre and Don Quichotte a Dulcinée (Avignon), Baron Douphol in La Traviata (Angers-Nantes), the roles of l’Entrepreneur and le Surveillant Général in the Thierry Eschaich’s world premiere Claude (Lyon, Oliver Py, stage director), Marquis de la Force in Dialogues des Carmélites (Lyon), Golaud in Pelléas et Mélisande (Opéra-Comique Paris), and Lindorf, Coppelius, Miracle, Dapertutto in Hoffmann’s Tales (Lyon and Tokyo, Laurent Pelly stage director)

Représentation: World exclusive

Highlights

mars 2015

27, 30 mar 2015; 3, 6, 9, 12, 15, 18, 21 avr 2015 “Laurent Alvaro possède une voix large est bien projetée qui lui permet d’incarner un Comte de Gormas arrogant et sûr de lui” (ChristianPeter/ForumOpera) "Les seconds rôles ont été soignés avec Laurent Alvaro dans Le Comte de Gormas (Patricj Kovarik/ L'Express) "le Comte de Gormas campé par Laurent Alvaro fait belle figure”(François Lesueur/Concert Classic) “le comte de Gormas, parfaitement campé par Laurent Alvaro avant de rendre l’âme sous l’épée de Rodrigue, s’exprime surtout dans le cri – de fureur, de souffrance, de vengeance, d’inquiétude, de joie, d’amour aussi bien. Cette violence permanente ignore les pauses de la tendresse, mais n’atteint pas l’élan, l’ardeur du héros légendaire qui se révèle ici un homme fier, fidèle, sensible et téméraire et non point fastueux ni belliqueux. (Claude Helleux:AltaMusica)