Bass

Andrea Mastroni

Operatic engagements this season and beyond include Agrippina at the Royal Opera House, Re di Scozia in Handel’s Ariodante at Palau de les Arts Valencia, and Achille in Sciro and Die Zauberflöte at Teatro Real Madrid. In the coming seasons, Andrea debuts at Opera di Roma and at the Wiener Staatsoper, and returns to the Liceu Barcelona, and Metropolitan Opera.

Concert appearances include Songs and Dances of Death with the Finnish Radio Symphony Orchestra, and Tristan und Isolde with the Atlanta Symphony Orchestra. Later, Andrea debuts with the Berliner Philharmoniker.

Andrea has recently recorded a new Handel Serse for Deutsche Grammophon with Il Pomo d’Oro, and ‘Melancholia’ – Handel arias for bass with the Accademia dell’ Annunciata.

© Nicola Garzetti

Introduction

Italian bass Andrea Mastroni began his musical education as a clarinettist before moving to vocal studies where he graduated from the Istituto Claudio Monteverdi in Cremona. His awards include the Mario Basiola prize (2005), the Giuseppe Di Stefano prize (Trapani) for his portrayl of Sparafucile Rigoletto, the Bibiena (Mantua) prize (2007) and the XXXVII Prize Franco Abbiati for his performance in Perocco’s Aquagranda at Teatro La Fenice.

Andrea’s repertoire includes Rocco Fidelio, Seneca L’Incoronazione di Poppea, Colline La bohème, Sparafucile Rigoletto, Hundung Die Walküre, Selim Il Turco in Italia, Il Re di Scozia Ariodante, Heinrich Lohengrin, Daland Der fliegende Holländer, Sarastro Die Zauberflöte, Gremin Eugene Onegin, Achille in Sciro, Mustàfa Italiana in Algeri, Cardinal de Brogni La Juive, König Marke Tristan und Isolde, and the title roles in Don Giovanni and Don Pasquale among many others.

He has appeared at Metropolitan Opera, Opernhaus Zurich, Teatro Real Madrid, Bayerische Staatsoper, Deutsche Staatsoper, Hamburgische Staatsoper, Cincinnati Opera, Theatre des Champs Elysées, Teatro Massimo Di Palermo, and Royal Opera House Covent Garden.


Video & Audio

Performance Schedule

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    18:00 19 Jan 2020 Teatro Real Madrid, MADRID

    WOLFGANG AMADEUS MOZART Die Zauberflöte

    Conductor: Ivor Bolton
    Director: Barrie Kosky
    Director: Suzanne Andrade
    Sarastro: Andrea Mastroni
    Tamino: Stanislas De Barbeyrac
    Queen of the Night: Sabine Devieilhe
    Pamina: Anett Fritsch
    3 Ladies (1): Elena Copons
    3 Ladies (2): Gemma Coma-Alabert
    3 Ladies (3): Marie-Luisse Dressen
    Papagena: Ruth Rosique
    Papageno: Andreas Wolf
    Monostatos: Mikeldi Atxalandabaso
    2 Armoured Men (1): Antonio Lozano
    2 Armoured Men (2): Felipe Bou

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    20:00 25 Jan 2020 Teatro Real Madrid, MADRID

    WOLFGANG AMADEUS MOZART Die Zauberflöte

    Conductor: Ivor Bolton
    Director: Barrie Kosky
    Director: Suzanne Andrade
    Sarastro: Andrea Mastroni
    Tamino: Stanislas De Barbeyrac
    Queen of the Night: Sabine Devieilhe
    Pamina: Anett Fritsch
    3 Ladies (1): Elena Copons
    3 Ladies (2): Gemma Coma-Alabert
    3 Ladies (3): Marie-Luisse Dressen
    Papagena: Ruth Rosique
    Papageno: Andreas Wolf
    Monostatos: Mikeldi Atxalandabaso
    2 Armoured Men (1): Antonio Lozano
    2 Armoured Men (2): Felipe Bou

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    20:00 30 Jan 2020 Teatro Real Madrid, MADRID

    WOLFGANG AMADEUS MOZART Die Zauberflöte

    Conductor: Ivor Bolton
    Director: Barrie Kosky
    Director: Suzanne Andrade
    Sarastro: Andrea Mastroni
    Tamino: Stanislas De Barbeyrac
    Queen of the Night: Sabine Devieilhe
    Pamina: Anett Fritsch
    3 Ladies (1): Elena Copons
    3 Ladies (2): Gemma Coma-Alabert
    3 Ladies (3): Marie-Luisse Dressen
    Papagena: Ruth Rosique
    Papageno: Andreas Wolf
    Monostatos: Mikeldi Atxalandabaso
    2 Armoured Men (1): Antonio Lozano
    2 Armoured Men (2): Felipe Bou

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    18:00 02 Feb 2020 Teatro Real Madrid, MADRID

    WOLFGANG AMADEUS MOZART Die Zauberflöte

    Conductor: Ivor Bolton
    Director: Barrie Kosky
    Director: Suzanne Andrade
    Sarastro: Andrea Mastroni
    Tamino: Stanislas De Barbeyrac
    Queen of the Night: Sabine Devieilhe
    Pamina: Anett Fritsch
    3 Ladies (1): Elena Copons
    3 Ladies (2): Gemma Coma-Alabert
    3 Ladies (3): Marie-Luisse Dressen
    Papagena: Ruth Rosique
    Papageno: Andreas Wolf
    Monostatos: Mikeldi Atxalandabaso
    2 Armoured Men (1): Antonio Lozano
    2 Armoured Men (2): Felipe Bou

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    20:00 07 Feb 2020 Teatro Real Madrid, MADRID

    WOLFGANG AMADEUS MOZART Die Zauberflöte

    Conductor: Ivor Bolton
    Director: Barrie Kosky
    Director: Suzanne Andrade
    Sarastro: Andrea Mastroni
    Tamino: Stanislas De Barbeyrac
    Queen of the Night: Sabine Devieilhe
    Pamina: Anett Fritsch
    3 Ladies (1): Elena Copons
    3 Ladies (2): Gemma Coma-Alabert
    3 Ladies (3): Marie-Luisse Dressen
    Papagena: Ruth Rosique
    Papageno: Andreas Wolf
    Monostatos: Mikeldi Atxalandabaso
    2 Armoured Men (1): Antonio Lozano
    2 Armoured Men (2): Felipe Bou

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    20:00 10 Feb 2020 Teatro Real Madrid, MADRID

    WOLFGANG AMADEUS MOZART Die Zauberflöte

    Conductor: Ivor Bolton
    Director: Barrie Kosky
    Director: Suzanne Andrade
    Sarastro: Andrea Mastroni
    Tamino: Stanislas De Barbeyrac
    Queen of the Night: Sabine Devieilhe
    Pamina: Anett Fritsch
    3 Ladies (1): Elena Copons
    3 Ladies (2): Gemma Coma-Alabert
    3 Ladies (3): Marie-Luisse Dressen
    Papagena: Ruth Rosique
    Papageno: Andreas Wolf
    Monostatos: Mikeldi Atxalandabaso
    2 Armoured Men (1): Antonio Lozano
    2 Armoured Men (2): Felipe Bou

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    20:00 13 Feb 2020 Teatro Real Madrid, MADRID

    WOLFGANG AMADEUS MOZART Die Zauberflöte

    Conductor: Ivor Bolton
    Director: Barrie Kosky
    Director: Suzanne Andrade
    Sarastro: Andrea Mastroni
    Tamino: Stanislas De Barbeyrac
    Queen of the Night: Sabine Devieilhe
    Pamina: Anett Fritsch
    3 Ladies (1): Elena Copons
    3 Ladies (2): Gemma Coma-Alabert
    3 Ladies (3): Marie-Luisse Dressen
    Papagena: Ruth Rosique
    Papageno: Andreas Wolf
    Monostatos: Mikeldi Atxalandabaso
    2 Armoured Men (1): Antonio Lozano
    2 Armoured Men (2): Felipe Bou

Discography

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    HANDEL Serse

    Label: Deutsche Grammaphon

    Release Date: 02 Nov 18

    Il pomo d’oro
    Conductor: Maxim Emelyanychev
    Serse: Franco Fagioli
    Arsamene: Vivica Genaux
    Amastre: Delphine Galou
    Ariodate: Andrea Mastroni
    Romilda: Inga Kalna
    Atalanta: Francesca Aspromonte
    Elviro: Biagio Pizzuti

    “Andrea Mastroni is noteworthy for the wonderfully dark timbre of his voice and for his elegant phrasing, which brings authoritativeness to his Ariodate. His vocal agility is amazingly exemplified by the aria Soggetti al mio volere.”

    The Music Gala, November 2018

    “Andrea Mastroni est une vraie basse aux graves bien ronds.”

    Forumopera, November 2018

    “Andrea Mastroni coglie perfettamente la misura di Ariodate, principe vassallo di Serse e padre di Romilda e Atalanta, conferendo al suo strumento agile e scuro la nobiltà del generale e l’autorevolezza del genitore senza prendersi troppo sul serio e sbilanciare i toni della commedia (basti ascoltare la bonomia con cui intona “Del Ciel d’amore sorte sì bella”)”

    (Translated) “Andrea Mastroni perfectly captures the measure of Ariodate, the vassal prince of Serse and father of Romilda and Atalanta, giving his noble and dark instrument the nobility of the general and the authoritativeness of the parent without taking himself too seriously and unbalancing the tones of the comedy ( just listen to the goodness with which he intones “Del Ciel d’amore sorte sì bella”) ‘

    R Petrotti, L’Ape Musicale, 26 January 2019

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    HANDEL Melancholia

    Label: Musica Viva Records

    Release Date: 01 Jan 18

    Conductor: Riccardo Doni
    Bass: Andrea Mastroni
    Accademia Dell’Annunciata

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    VERDI Rigoletto

    Label: Delos

    Release Date: 10 Nov 17

    Conductor: Constantine Orbelian

    Dmitri Hvorostovsky
    Nadine Sierra
    Francesco Demuro
    Andrea Mastroni
    Oksana Volkova

    Kaunas Symphony Orchestra
    Men of the Kaunas State Choir

    “Andrea Mastroni, one of the leading Sparafucile interpreters today, certainly provides his venomous interpretation quite well, his way with his native tongue quite potent. The way he courts Rigoletto in the opening scene certainly makes the listener feel that the two are engaged in a tense dialogue, Mastroni’s rotund sound pressing on a Hvorostovsky whose pointed replies reveal his discomfort. Moreover, Mastroni’s power is felt in his interactions with Maddalena in the trio, making us truly believe his moral callousness.”

    David Salazar, Operawire

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    DUPARC Lamento

    Label: Brilliant Classics

    Release Date: 04 Dec 15

    Bass: Andrea Mastroni
    Piano: Mattia Ometto

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    ROSSINI Semiramide

    Label: Naxos

    Release Date: 03 Sep 13

    Conductor: Antonino Fogliani

    Semiramide: Alex Penda
    Arsace: Marianna Pizzolato
    Assur: Lorenzo Regazzo
    Idreno: John Osborn
    Oroe: Andrea Mastroni
    Azema: Marija Jokovic
    Mitrane: Vassilis Kavayas
    Nino’s ghost: Raffaele Facciolà

    Camerata Bach Choir & Virtuosi Brunensis

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    GOUNOD Roméo et Juliette

    Label: DECCA

    Release Date: 12 Nov 12

    Conductor: Fabio Luisi

    Roméo: Andrea Bocelli
    Juliette: Maite Alberola

    Orchestra & Chorus of Teatro Carlo Felice of Genova

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    VERDI I Vespri Siciliani

    Label: C Major

    Release Date: 13 May 13

    Conductor: Massimo Zanetti
    Director: Pier Luigi Pizzi

    Guido di Monforte:  Leo Nucci
    Il sire di Bethune: Dario Russo
    Il conte Vaudemont: Andrea Mastroni
    Arrigo: Fabio Armiliato
    Giovanni da Procida: Giacomo Prestia
    La
    duchessa Elena: Daniela Dessì
    Ninetta: Adriana Di Paola
    Danieli: Raoul d’Eramo
    Tebaldo: Roberto Jachini Virgili
    Roberto: Alessandro Battiato
    Manfredo: Camillo Facchino

    Parma Teatro Regio Chorus and Orchestra

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    MARCHETTI: Romeo e Giulietta

    Label: Dynamic

    Release Date: 28 Feb 00

    Composer(s):
    Marchetti, Filippo

    Lyricist(s):
    Marcello, Marco Marcelliano

    Conductor(s):
    Yurkevych, Andriy

    Featuring
    Orchestra Internazionale d’Italia
    Bratislava Chamber Choir

    Artist(s):
    MarioCassi, Giovanni Coletta, Serena Daolio, Eugen Gaal, Roberto Iuliano, Andrea Mastroni, Tiziana Portoghese, Dario Solari, Emil Zhelev

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    23 Sep 19 HANDEL Agrippina
    Royal Opera House, London

    Andrea Mastroni’s resonant young bass made much of Pallade [sic]”

    Mark Pullinger, Bachtrack, 24 September, 2019

    “un registre grave impressionnant pour Pallante de Mastroni ”

    (Translated) “an impressive low register from Mastroni’s Pallante”

    Mark Everist, Olyrix, 5 October 2019

    “There are strong performances from the other singers, particularly the wonderful basses…and Andrea Mastroni as the courtier Pallante. Such strong Italian diction.”

    London News Online, 4 October 2019

    “Una piccola ma eccellente rappresentanza italiana è costituita dai bassi Gianluca Buratto e Andrea Mastroni, i quali ci ricordano che la musica di Händel non è appannaggio esclusivo di soprani e controtenori… Mastroni è un Pallante magnetico con una vocalità grave e possente caratterizzata da un timbro scuro e sostenuta da una tecnica solida con suoni ben appoggiati e sostenuti e agilità ben curate. L’esecuzione dell’aria del primo atto “La mia sorte fortunata’’ è impeccabile in fierezza e accenti e viene molto apprezzata dal pubblico londinese.”

    (Translated) “A small but excellent Italian representation comes in the form of the basses Gianluca Buratto and Andrea Mastroni, who remind us that the music of Handel does not belong exclusively to sopranos and countertenors… Mastroni is a magnetic Pallante with a deep and powerful vocality characterised by a dark timbre and supported by a solid technique with well-sustained and supported sound and meticulous agility. The execution of the aria in the first act “La mia sorte fortunata” is impeccable in boldness and accents and is very well received by the London audience.”

    Pietro Dall’Aglio, Connessi all’Opera, 6 October 2019

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    29 May 19 HANDEL Agrippina
    TOUR: il pomo d'oro

    “Le Pallante d’Andrea Mastroni est quant à lui une basse conquérante affirmée”

    [Translated] “Andrea Mastroni’s Pallante is that of an affirmed conquering bass.”

    Violette Renié, Olyrix, May 2019

    “Andrea Mastroni semble habité par le fantôme de Cesare Siepi : le timbre est sublime, l’émission jouit d’une autorité quasi-naturelle, sa voix emplit l’espace sans jamais forcer et sur une tessiture abyssale. Malgré une vocalisation perfectible, c’est trop pour Pallante, qu’on lui donne vite des rois haendeliens !”

    [Translated] “Andrea Mastroni seems inhabited by the ghost of Cesare Siepi: his tone is subline, and the show benefits from his quasi-natural authority, his voice fills the space without forcing and on an abyssal range. In spite of a perfectible vocalization, it is too much for Pallante, and he quickly gets the Handelian King treatment!”

    Guillaume Saintagne, ForumOpera, 30 May 2019

    “El bajo Andrea Mastroni construye un Pallante convincente, suelto, firme(…) con una excelente dicción además, dada su origen italiano.”

    [Translated] “The bass Andrea Mastroni builds a convincing, loose but firm Pallante, (…)with excellent diction, given its Italian origin.”

    Operaclick, May 2019

    “Carlo Vistoli and Andrea Mastroni did a strong double act as Agrippina’s henchmen.”

    Rupert Christiansen, Telegraph, 1 June 2019

    ” Andrea Mastroni, impressed as the courtier Pallante with a tightly focused and flexible voice, creating a good double act with Carlo Vistoli’s Narciso.”

    David Karlin, Bachtrack, 1 June 2019

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    11 Apr 19 BEETHOVEN Symphony No. 9
    Atlanta Symphony Hall

    “Mastroni’s solos had an almost supernatural warmth and depth of vocal timbre that made audience members sit on the edge of their seats”

    Benjamin Wadsworth, Arts Atlanta, 12 April 2019

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    17 Mar 19 CAVALLI La Calisto
    Teatro Real Madrid

    Andrea Mastroni è stato un ottimo Silvano per profondità di voce e squillo non indifferente. ”

    (Translated) “Andrea Mastroni was an excellent Silvano for depth of voice and exciting tone”.

    MGT Lirica, 24 March 2019

    “Andrea Mastroni, satyre devenu centaure dans cette production, a une voix profonde et belle.”

    (Translated) “Andrea Mastroni, who transforms from Satyr to Centaur in this production, has a deep and beautiful voice.

    ConcertoNet, 26 March 2019

    “Bass Andrea Mastroni gave a dignified reading as Silvano, dressed in centaur with wings.”

    Parterre, 20 March 2019

    “(…) bass Andrea Mastroni showed his powerful voice as a sonorous Silvano.”

    Seen and Heard International, 20 March 2019

    “Cabe destacar […] el cálido timbre de bajo de Mastroni”

    (Translated) “Noteworthy… is Mastroni’s warm bass tone”

    Bachtrack, 18 March 2019

    “(…) et plus encore le Silvano d’Andrea Mastroni impressionnent par la puissance du timbre, amplifiée par une présence scénique massive.”

    (Translated) “(…) and even more, Andrea Mastroni’s interpretation of Silvano impresses with the power of his voice, amplified by a massive stage presence”

    Classiquenews, 22 March 2019

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    27 Jan 19 MOZART Don Giovanni
    Teatro Filarmonico Verona

    “Ottimo debutto di ruolo per Andrea Mastroni, un Don Giovanni ideale per preziosità vocale e temperamento scenico. Lodiamo il fraseggio ricco di chiaroscuri, la soavità della mezzavoce, l’imponenza dell’accento drammatico e il vivo senso del teatro.”

    (Translated) “An excellent role debut for Andrea Mastroni, who as Don Giovanni is ideal in vocal preciousness and scenic temperament. We complimented his rich chiaroscuro phrasing, the softness of his voice, his imposing dramatic accent and lively sense of theatre.”

    Francesco Lodola, ierioggidomaniopera, 28 January 2019

    “Il ruolo di Don Giovanni era affidato al basso Andrea Mastroni, attento e scrupoloso nel fraseggio, che lo aiutava a colorare con intelligenti sfumature il timbro ricco e a cesellare luci e chiaroscuri del personaggio.”

    (Translated) “The role of Don Giovanni was entrusted to Bass Andrea Mastroni, who is careful and scrupulous in his phrasing, helping him to colour the rich timbre with clever tones and to chisel light and chiaroscuro through his character.”

    Silvia Campana, Operaclick, 28 January 2019

    ‘Andrea Mastroni interpreta un Don Giovanni dalle movenze esperte e sicure, senza tralasciare l’ironia che di fondo permea il personaggio. Il suo registro basso non gli permette errori e risolve al meglio con la sua tessitura calda e avvolgente il “Deh vieni alla finestra”.’

    (Translated) “Andrea Mastroni plays an expert Don Giovanni, safe but never forgetting the irony that permeates the character. His low basso register is flawless, and has a warm and enveloping texture in ‘Deh vieni alla Finestra’ ”

    Matteo Pozzato, Le Salon Musical, 28 January 2019

    “Successo con punte trionfali per il ben assortito cast: in primis per il debuttante Andrea Mastroni, passato agevolmente dal demone di Boito all’eroe mozartiano. Voce ampia e ben timbrata di autentico basso, assai sciolto scenicamente e preciso musicalmente già ai nastri di partenza. Un ruolo in cui, una volta ben metabolizzato, si imporrà sui palcoscenici internazionali anche perché aiutato da un fisico ideale per rendere l’infatuazione femminile verso il libertino, specie nelle scene di erotismo ricreate nel finale, dove poi le donne si trasformano in Erinni e lo spingono nelle fiamme. ”

    (Translated) “A triumphant success for the well-assorted cast: first for the debutant Andrea Mastroni (…). With a wide and well-timed authentic bass voice, very loose, Andrea was scenically and musically precise from the starting point. A role in which, once well metabolised, will be imposed on the international stages, not only due to this talent, but also aided by the ideal physique to inspire the feminine infatuation towards his character, especially in the scenes of eroticism recreated in the final scene, where then the women are transformed into Erinni and they push him into the flames.”

    Andrea Merli, i Teatri dell’Est, 28 January 2019

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    04 Jan 19 MOZART Die Zauberflöte
    Hamburgische Staatsoper

    “Andrea Mastroni sang Sarastro’s music with smoky, velvety tone, finding genuine beauty as he descended to the depths.”

    Operatraveller, 5 January 2019

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    30 Nov 18 PUCCINI Turandot
    Teatro Real Madrid

    “La basse italienne Andrea Mastroni donne chair à Timur…

    (Translated) “The Italian Bass Andrea Mastroni gives flesh to Timur…

    Thibault Vicq, Opera Online, 9 December 2018

    “En solitario y en conjunto, la dupla infundió fuerza a la interpretación, con una proyección vocal absolutamente pujante, sin perjuicio de dicciones, tonos y colores asimismo adecuados.”

    (Translated “Alone and as a whole, the duo [Andrea Mastroni and Yolanda Auyante] gave strength to the interpretation, with an absolutely powerful vocal projection, without prejudice of dictions, tones or colours.

    Ramón del Buey Canas, Bachtrack, 6 December 2018

     

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    04 Oct 18 HÄNDEL Rodelinda
    Opéra de Lille

    “l’Italien plastronne et gronde à l’envi, exhibant généreusement les noirceurs d’un métal sonore qui siéent à merveille à l’une des pires crapules du théâtre haendélien”

    (translated) “The Italian bursts and roars at will, generously showing the dark metal sound that fits perfectly with one of the worst scoundrels of the Handelian theater”

    Bernard Schreuders, Forum Opera, 4 October 2018

    “Andrea Mastroni was Garibaldo, a one-dimensional bad guy; his bass was remarkably elegant and enjoyable; another young singer whose career will be worth following.”

    Laura Servidei, bachtrack, 8 October 2018

    “L’odieux Garibaldo peut s’appuyer sur le grave profond et projeté d’Andrea Mastroni.”

    (Translated) “The odious Garibaldo is safe in the hands of the deep and projected bass of Andrea Mastroni”

    Philippe Venturini, Les Echos, 9 October 2018 

    “Garibaldo, enfin, est confié à la basse Andrea Mastroni. Dans un contraste étonnant, la voix sombre et dense prend des accents qui paraîtraient nobles s’ils n’étaient le fait d’un personnage de médiocre comploteur, prêt à toutes les trahisons.”

    (Translated) “Finally, Garibaldo is entrusted to the bass Andrea Mastroni. In an astonishing contrast, the dark, dense voice takes on what seems like hints of nobility, as if it were not coming from a mediocre plotting character, ready for all betrayals.”

    Caroline Mounier-Vehier, Olyrix, 7 October 2018

    “Quant à la basse d’Andrea Mastroni (Garibaldo), elle gronde, rugit, résonne – un vrai méchant d’opéra !”

    (Translated) “As for the Bass Andrea Mastroni (Garibaldo), he roars, rumbles, reverberates… A true villain!”

    Gaëlle Le Dantec, Concert Classic, 11 October 2018

    “La basse opulente d’Andrea Mastroni…”

    “Andrea Mastroni’s luxurious bass…”

    Christian Merlin, Le Figaro, 10 October 2018

    “…Garibaldo, un rôle de méchant confié à la basse impressionnante d’Andrea Mastroni”

    (translated) “…Garibaldo, the role of villain entrusted bass of Andrea Mastroni”

    Marie-Aude Roux, Le Monde, 10 October 2018

    “Andrea Mastroni, par sa profonde voix de basse et sa nature intensément lyrique, marque les esprits en Garibaldo, désireux de s’unir à Eduige par pur intérêt.”

    ConcertoNet, Sébastien Foucart, 18 October 2018

    (Rodelinda at Théâtre des Champs-Elysées):

    “Et quel génie musical d’avoir prévu une basse, une vraie, pour le rôle de Garibaldo, surtout quand l’interprète s’appelle Andrea Mastroni et qu’il possède parfaitement l’art du chant baroque malgré les graves abyssaux que la partition lui a réservé. Les vocalises ne lui font pas peur, ni les trilles, ni les nuances, ni la palette de couleurs à déployer pour le rôle du méchant qui conseille à Grimoaldo d’assumer son rôle de tyran en tuant l’enfant de Rodelinda « Cosi d’usurpatore il nome adempie ».”

    (Translated)
    “And what musical genius to have placed a true bass in the role of Garibaldo, especially when that interpretor is Andrea Mastroni who understands truly how to sing the art of the baroque, even with the deep register that the score demands. These notes do not frighten him, nor the trills, nor the tones, nor the broad spectrum of characteristics needed for role of villain, this villain who advises Grimaldo to take the role of tyrant by killing Rodelinda’s child, “Cosi d’usurpatore il nome adempie”.”

    odb-Opera, 9 December 2018

    “Andrea Mastroni est une basse impressionnante, dont la stabilissime colonne d’air est parfaitement connectée à une articulation libre et fluide.”

    (Translated) “Andrea Mastroni is an impressive basse, whose stable flow of air is perfectly connected to a free and fluid articulation”

    Chanteur.net, 10 December 2018

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    04 Feb 18 HÄNDEL Melancholia
    Museo Nazionale di Scienza e Tecnologia “Leonardo Da Vinci” di Milano

    (Translated) “The Milanese bass Andrea Mastroni has recorded this album with arias from some of Montagnana’s most important roles, beginning and ending with selections from Ezio. Mastroni has an uncommonly flexible, fluid, and richly nuanced bass with a substantial low register, and masters pieces with a range of two octaves. He is especially impressive in Polifemo’s “Fra l’ombre e gl’orrori” from Aci, Galatea, e Polifemo. Mastroni receives sensitive accompaniment from the Accademia dell’Annunciata led by Riccardo Doni.”

    Opernwelt, June 2018

    “Mastroni, liederista raffinato oltre che versato al repertorio della mélodie francese, mette la sua tavolozza rigogliosa di colori a completo servizio di un canto ricco e corposo, oltre che facilissimo nelle agilità.
    Le scelte delle arie permette a Mastroni, ben assecondato dagli strumentisti dell’Accademia dell’Annunciata guidati con mano salda ma leggera da Riccardo Doni, il dispiegare nella sua interezza l’invidiabile estensione che possiede e con un’intelligenza interpretativa tutt’altro che comune.”

    “Mastroni, a refined “liederist” while also well-versed in the French melodic repertoire, paints his lush palette of colours through the rich and full-bodied songs with ease and agility. The selection of arias allows Mastroni to reach out using that enviable grasp he possesses with unique intelligence, all-the-while supported by the instrumentalists of the Accademia dell ‘Annunciata and guided by the light but firm hand of Riccardo Doni.”

    Alessandro Cammarano, Le Salon Musical, 7 July 2018

    “… la musica di Händel è magnifica e che magnifica è pure la voce ampia e sonora di Mastroni, dal timbro scuro e profondo, davvero singolare per colore e morbidezza; tanto più che questa voce è messa a servizio di un fraseggio duttile, piegato a sfumature di inaudita eleganza, ma pure incisivo e preciso nei virtuosismi di una scrittura ricca e frastagliata. Il cantante ha dedicato sempre grande attenzione alle parole, non solo nei recitativi, scanditi con precisione, ma anche nei momenti di lirica effusione, come nell’aria “Invida sorte avara”, da Ariodante, pagina di tersa bellezza. Ha emozionato la particolarissima scrittura di “Fra l’ombre e gl’orrori”, da Aci Galatea e Polifemo, che porta Mastroni a delibare un sicuro falsetto alternato a note profondissime, assecondato da un’orchestra morbida e avvolgente”.

    Fabio Larovere, Connessi all’Opera, 8 February 2018

    “D’altronde il basso ha alle spalle premi prestigiosi che testimoniano l’apprezzamento per una carriera di alto livello. Non solo come interprete di Handel ma anche di Vivaldi, Rossini, Mozart ma anche di Verdi. Per arrivare sino alle interpretazioni di opere di autori contemporanei. ”Una voce come un cannone”, secondo la definizione che un viaggiatore scozzese riservò a Montagnana dopo aver assistito a Londra ad una esibizione del cantante veneziano.”

    Antonio Paolo Montagnana, Electo Radio 2018

    “Schlichtweg grandios schließlich, mit wie viel Gefühl Andrea Mastroni die Arie “ Fra l’ombre e gl’orrori“ zelebriert. Grandios, auch die Klangpracht, die diese Stimme in der Tiefe entwickelt. Sie erscheint in allen Lagen ausgeglichen, so, als es in seinem Stimmfach keine Grenzen geben würde.”

    Herausgeber: Sven Godenrath, 8 April 2018

    “Um diese Faszination akustisch wiederzubeleben, braucht es einen besonderen Künstler. Und der italienische Bassist Andrea Mastroni ist ein solcher. Sein beim Label Viva Musica erschienenes Album ‘Melancholia’ ist eine Hommage an Händels nahezu vergessenen Starbass. Mit einem furiosen ‘Già risonar d‘intorno’ aus ‘Ezio’ eröffnet die CD. Mastroni ist ein versierter Koloratursänger, der Händels Anforderungen beneidenswert gewachsen ist. Dabei ist es verblüffend, mit welcher Agilität der Sänger zu Werke geht, wo seine Stimme von einer kraftvollen Schwärze und einigem Gewicht ist. Dass Andrea Mastroni all diese Qualitäten in seiner lebendigen und ungemein authentischen Interpretation vereinen kann, macht größtmöglichen Effekt.”

    (Translated) “(…) To acoustically revive this fascination, a special artist is needed. And Italian bassist Andrea Mastroni is one of them. His album ‘Melancholia’, released by the label Viva Musica, pays homage to Handel’s almost forgotten Starbass. The CD opens with a furious ‘Già risonar d’intorno’ from ‘Ezio’. Mastroni is an accomplished coloratura singer who has grown enviable to Handel’s requirements. It is amazing how agile the singer goes to work, where his voice is of a powerful blackness and some weight. The fact that Andrea Mastroni combines all these qualities in his lively and uncommonly authentic interpretation makes the greatest possible impact.”

    Benjamin Künzel, Klassik.com, 14 July 2018

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    14 Dec 17 VERDI Rigoletto
    Royal Opera House

    “We heard two exciting basses: aside the Platanias/Fomina duets, the high points of Act 1 were the entries of Sparafucile and Monterone. Andrea Mastroni was a rather youthful, slick Sparafucile, but with a big voice which can generate excitement right through the middle of the range as well as on the long low F as he exits; he also very much livened up his Act 3 exchanges with Maddalena (Nadia Krasteva, in a promising Royal Opera debut).”

    David Karlin, Backtrack, 15 December 2017

    “Michael Fabiano’s Duke is the real deal. Impulsive, volatile and brimming with arrogance, he conveys the feral power of a lustful despot on the loose, with his voice and body language. I also like Andrea Mastroni’s Sparafucile, his vocal timbre as black as his heart.”

    Richard Morrison, The Times, 18 December 2017

    “Andrea Mastroni was a fantastic Sparafucile, a man of the shadows, his evil understated but undoubtable: Mastroni’s sensitive, graded parlando in Act 1 told us all we needed to know.”

    Claire Seymour, Opera Today, 17 December 2017

    “There’s an excellent Sparafucile from Andrea Mastroni – coolly self-controlled and genuinely sinister.”

    Tim Ashley, The Guardian, 21 December 2017

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    19 Nov 17 HANDEL Serse
    Opéra Royal du Chateau de Versailles

    “Pour soutenir un tel plateau notamment dans ses ensembles (l’équilibre, c’est la basse, nous rappelait récemment Attila !) et afin d’offrir la noirceur d’Ariodate, il faut une basse royale : elle se nomme ici Andrea Mastroni. Sonore jusque dans les notes les plus graves de la tessiture, il fait forte impression avec une voix enracinée et très riche en harmoniques graves. Le public en gronde comme lui.”
    Charles Arden, Olyrix, 20 November 2017

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    17 Jul 17 VERDI Rigoletto
    Arena di Verona

    “Il faut admirer la jeune basse Andrea Mastroni en Sparafucile de maître ! La nature fut généreuse avec le Lombard [lire notre critique de son CD Henri Duparc] – on perçoit nettement la voix naturelle dont il dispose –, mais il ne s’en tient pas là : une maîtrise exemplaire de ses moyens conduit cette incarnation magistrale.”
    Katy Oberlé, Anaclase, 6 July 2017

    “Andrea Mastroni è un ottimo Sparafucile, dal timbro grave sempre ben calibrato e dalla linea melodica gestita con sapienza.”
    Raffaella Petrosino, GB Opera, 5 July 2017

    “Ottimo lo Sparafucile disegnato da Andrea Mastroni, che nella voce tornita trova una vena notturna che contribuisce ad ammantare di ulteriore mistero il personaggio.”
    Alessandro Cammarano, Operaclick, 2 July 2017

     

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    12 May 17 VERDI Don Carlo
    Royal Opera House Covent Garden

    “…Andrea Mastroni’s sonorous Carlos V…”
    Michael Church, Independent, 16 May 2017

    “David Junghoon Kim was a dignified Lerma, whilst Andrea Mastroni held our attention as Carlos V.”
    Robert Hugill, Planet Hugill, 16 May 2017

    ” Andrea Mastroni was impeccably mysterious as Carlos V…”
    Colin Clarke, Seen and Heard, 15 May 2017

    “Otra historia es el prometedor bajo Andrea Mastroni … Mastroni impresionó con su voz profunda y potente de auténtico bajo en sus brevísimas intervenciones como Carlo V.”

    Elio Ronco Bonvehi, Culturalresuena, 20 May 2017

     

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    19 Mar 17 VERDI Rigoletto
    Hamburgische Staatsoper

    “The best singing of the evening came from Andrea Mastroni as Sparafucile … Milan-born Mastroni was absolutely convincing as the duplicitous assassin and his vocal abilities were no less impressive. A floaty top E flat on ‘Sparafucile’ in his first encounter with Rigoletto was both sinister and seductive while the low F naturals in Act 1 and his ‘Buona notte’ in Act 3 had sepulchral sonority.”

    Jonathan Sutherland, Bachtrack, 19 March 2017

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    20 Jan 17 VERDI Rigoletto
    Metropolitan Opera

    “Her naivety was in stark contrast to the evil of the character of Sparafucile, which was so chillingly brought out by Italian bass Andrea Mastroni, making his Met debut. His performance was one of the vocal highlights of the evening, his booming resonance in the low lying tessitura drawing out the character’s darkness. He portrayed the hitman with an almost perverse and unrepentant pleasure – this pure evil contrasted with the innocence of Gilda heightening the sense of impending tragedy.”
    Oliver Brett, Bachtrack, 23 January 2017

    “Andrea Mastroni made a superb company debut as Sparafucile, playing the slick, shady hitman with a rich barolo voice.”
    Eric C. Simpson, New York Classical Review, 21 January 2017

    “…his voice and demeanor display all the oily charisma one could desire.”
    Patrick Clement James, Parterre, 22 January 2017

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    04 Nov 16 PEROCCO Aquagranda (World Premiere)
    Teatro la Fenice, Venice

    “Andrea Mastroni, forte dell’autorevolezza della sua cavata grave ma al contempo capace di vellutate morbidezze…”

    Andrea Mastroni has an authoritative low register, while having ease and softness in his upper one.

    Alessandro Cammarano, Operaclick, 5 November 2016

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    11 Dec 15 VERDI Rigoletto
    Teatro Real Madrid

    “Il basso milanese Andrea Mastroni è uno Sparafucile perfetto…”

    Milanese-bass Andrea Mastroni is a perfect Sparafucile…

    Michele Curnis, GB Opera, 14 December 2015

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    21 Oct 15 MOZART Die Zauberflöte
    Teatro Massimo, Palermo

    “…la voce profonda e morbida del basso Andrea Mastroni, un Sarastro perfettamente addentro alla figura posata e autorevole, solare, del personaggio.”

    …his voice was deep and soft. Bass Andrea Mastroni was a perfect gentle, autoritative, and cheerful Sarastro.

    Elisabetta Ragusa, GB Opera, 27 October 2017

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    22 Sep 15 DONIZETTI Roberto Deveraux
    Teatro Real Madrid

    “Le reste de la distribution est en revanche irréprochable, jusque dans ses rôles secondaires (notamment la basse sonore et bien chantante d’Andrea Mastroni en Sir Raleigh)…”

    The other members of the cast were a flawless match, even in the supporting roles (bass Andrea Mastroni distiguinshed himself in the role of Sir Raleigh for his big voice and amazing singing lines)…

    Antoine Brunetto, Forum Opéra, 4 October 2015

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    25 Jul 15 PUCCINI Turandot
    Cincinnati Opera

    “Also new to Cincinnati Opera, bass Andrea Mastroni as Timur displayed the banished ruler’s powerful yet plaintive assessment of what he deserves and what has been denied him. The shocked collective mourning for Liu was made particularly effective by Mastroni’s performance.”

    Jay Harvey, Up Stage, 30 July 2015

    “It is an imposing sound, full, noble, and rich. He, too, will be a valuable presence on operatic stages in years to come”

    OperaNews, October 2015

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    10 Aug 14 VERDI Aida
    Arena di Verona

    “Andrea Mastroni nei panni del Faraone conferma i pronostici che lo rilevano come una delle voci gravi migliori della sua generazione…”

    As the Pharaoh, Andrea Mastroni confirms he is one of the best bass voices of this generation…

    Raffaella Petrosino, GB Opera, 12 August 2014

Interviews

Andrea discusses his role debut as Don Giovanni with Luca Mazzara for l’Arena in February 2019

Read Andrea’s interview with ierioggidomaniopera ahead of his Don Giovanni role debut at Arena di Verona.

Read Andrea’s interview on his album “Melancholia: Händel’s Bass Arias” on OperaWire (2018)

Read Andrea’s interview on his Met debut on OperaWire (2017)

Read Andrea’s interview on Blastingnews (2017)

Trevor Gillis talks to Andrea about his Met debut, upcoming album, and most challenging role. Read it here. (2017)

Andrea talks to Fabio Larovere from Connessi all’Opera about his new CD Melancholia. Read it here. (2017)

 

Repertoire

OPERA:
BEETHOVEN Fidelio (Rocco)
BERLIOZ L’enfance du Christ (Herode)
BOITO Mefistofele
CAVALLI La Calisto (Giove)
DONIZETTI Don Pasquale (Don Pasquale)
HALÉVY La Juive (Cardinal de Brogni)
HANDEL Agrippina (Claudio)
HANDEL Ariodante (Il Re di Scozia)
HANDEL Giulio Cesare (Achilla)
HANDEL Jephtha (Zebul)
HANDEL Orlando (Zoroastro)
HANDEL Rinaldo (Argante) [415hz]
HANDEL Rodelinda (Garibaldo)
MASSENET Don Quichotte (title role)
MONTEVERDI Il ritorno d’Ulisse in patria (Nettuno / Antinoo)
MONTEVERDI L’ Incoronazione di Poppea (Seneca)
MONTEVERDI Orfeo (Caronte & Plutone)
MOZART Die Zauberflöte (Sarastro)
MOZART Die Entführung aus dem Serail  (Osmin)
MOZART Don Giovanni (title role)
MOZART Così fan tutte (Don Alfonso)
PONCHIELLI La Gioconda
ROSSINI Aureliano in Palmira
ROSSINI Italiana in Algeri (Mustafà)
ROSSINI Il Turco in Italia (Selim)
ROSSINI Il Viaggio a Reims (Lord Sidney)
ROSSINI Le comte Ory (Le Gouverneur)
ROSSINI Moïse et Pharaon (Moïse)
STRAUSS Der Rosenkavalier (Baron Ochs)
STRAUSS Elektra (Oreste)
STRAVINSKY Oedipus Rex (Tiresias)
VERDI Don Carlo (Il Grande Inquisitore)
VERDI Luisa Miller (Wurm)
WAGNER Parsifal (Gurnemanz)
WAGNER Tristan und Isolde (König Marke)
WAGNER Die Walküre (Hunding)
WAGNER Der fliegende Holländer (Daland)
WAGNER Lohengrin (Heinrich)

CONCERT:
BACH St John Passion
BEETHOVEN Missa solemnis
BEETHOVEN Symphony No.9
BRUCKNER Requiem
FAURE Requiem
HAHN Mélodies
HANDEL The Messiah (solo a 415 Hz)
MAHLER Kindertotenlieder
MAHLER Lieder eines fahrenden Gesellen
MAHLER Rückert-Lieder
MOZART Requiem
MUSSORGSKY Songs and Dances of Death
SCHUBERT Winterreise
SCHUBERT Schwanengesang
SCHUBERT Die schöne Müllerin
SCHUBERT Lieder (Erlkönig, Romanze aus Rosamunde, Die Forelle, an die Musik)
SCHUMANN Dichterliebe op.47
SCHUMANN Liederkreis
WOLF Michelangelo Lieder
DUPARC Mélodies (Opera omnia)
DVORAK Stabat Mater
DVORAK Requiem