Franco Fagioli

The first counter-tenor to sign an exclusive contract with Deutsche Grammophon, Franco Fagioli’s relationship with the Yellow Label reflects his status as one of the brightest stars of Baroque and early 19th-century bel canto opera.

His solo début recording for the company, ‘Rossini’, with Armonia Atenea and George Petrou, and his follow-up album of Handel Arias with Il Pomo d’Oro have both won universal critical acclaim.

His latest album for Deutsche Grammophon ‘Veni, Vidi, Vinci’ features a programme of spectacular arias by Leonardo Vinci.

Deutsche Grammophon © Igor Studio


The leading virtuoso counter-tenor of our time, Franco Fagioli is renowned as much for his artistry as for the beauty of his voice and masterful technique, spanning three octaves.

Highlights in his 2020/21 season include Nerone in Handel’s Agrippina for the Hamburgische Staatsoper, Adalgiso in Porpora’s Carlo il Calvo with Armonia Atenea/George Petrou, the title role in Handel’s Oreste on tour with Il Pomo d’Oro/Maxim Emelyanychev and Mozart arias with the Kammerorcester Basel.

He has appeared at Teatro alla Scala, Milan; the Royal Opera House, Covent Garden; the Bayerische Staatsoper, Munich; the Opéra national de Paris; Opernhaus Zurich; Dutch National Opera; Festival d’Aix-en-Provence; Theater and der Wien; Opéra National de Lorraine; Opéra de Lille and Théâtre des Champs Elysées.

He collaborates regularly with such conductors as Rinaldo Alessandrini, Diego Fasolis, Gabriel Garrido, René Jacobs, José Manuel Quintana, Marc Minkowski, Riccardo Muti and Christophe Rousset.


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    VINCI 'Arias'

    Label: Deutsche Grammophon

    Release Date: 05 May 20

    Release Date 05 May 2020

    Il pomo d’oro/Zefira Valova

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    HANDEL 'Serse'

    Label: Deutsche Grammophon

    Release Date: 02 Nov 18

    Release Date 02 November 2018

    Serse: Franco Fagioli
    Romilda: Inga Kalna
    Atalanta: Francesca Aspromonte
    Amastre: Delphine Galou
    Arsamene: Vivica Genaux
    Elviro: Biagio Pizzuti
    Ariodante: Andrea Mastroni

    Il pomo d’oro/Maxim Emelyanychev

    (Winner of a Premio Franco Abbiati Della Critica Musicale Italiana Award)

    (Winner of the Baroque Vocal Award at the 2020 International Classical Music Awards)

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    HANDEL 'Arias'

    Label: Deutsche Grammophon

    Countertenor: Franco Fagioli

    Il pomo d’oro/Zefira Valova

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    ROSSINI Arias from 'Tancredi', 'Semiramide', 'Matilde di Shabran', 'Adelaide de Borgogna' & 'Eduardo e Cristina'

    Label: Deutsche Grammophon

    Release Date: 22 Aug 16

    Franco Fagioli’s first solo recording for Deutsche Grammophon

    Countertenor: Franco Fagioli

    Armonia Atena/George Petrou

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    GLUCK 'Orfeo ed Euridice'

    Label: Deutsche Grammophon (Achiv Produktion)

    Release Date: 06 Jul 16

    Orfeo: Franco Fagioli
    Euridice: Malin Hartelius
    Amore: Emmanuelle de Negri

    Accentus Insula Orchestra/Laurence Equilbey

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    PERGOLESI 'Adriano in Syria'

    Label: Decca (UMO) Classics

    Release Date: 11 Jul 16

    Countertenor: Franco Fagioli
    Contralto: Romina Basso
    Countertenor: Yuriy Mynenko
    Soprano: Dilyara Idrisova
    Tenor: Juan Sancho
    Soprano: Cigdem Soyarslan

    Capella Cracoviensis/Jan Tomasz Adamus

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    'Arias for Caffarelli'

    Label: Naive

    Release Date: 01 Jul 16

    Arias by Hasse, Vinci, Leo, Porpora, Pergolesi, Cafaro, Sarro and Manna

    Countertenor: Franco Fagioli

    Il Pomo D’Oro/Riccardo Minasi

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    GLUCK 'Ezio'

    Label: Oehms Classics

    Release Date: 09 Jun 08

    Valentiniano: Ruth Sandhoff
    Fulvia: Kirsten Blaise
    Ezio: Franco Fagioli
    Onoria: Sophie Marin-Degor
    Massimo: Stefano Ferrari
    Varo: Netta Or

    Orchestra of Ludwigsburg Festival/Michael Hofstetter

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    HANDEL 'Berenice'

    Label: Erato

    Release Date: 14 Jun 10

    Berenice: Klara Ek
    Alessandro: Ingela Bohlin
    Demetrio: Franco Fagioli
    Selene: Romina Basso
    Arsace: Mary Ellen Nesi
    Arsitobolo: Vito Priante
    Fabio: Zorzi Giustiniani

    Il Complesso Barocco/Alan Curtis

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    HANDEL 'Teseo'

    Label: Carus

    Release Date: 09 Nov 09

    Teseo: Franco Fagioli
    Medea: Helene Schneidermann
    Agilea: Jutta Böhnert
    Egeo: Kai Wessel
    Arcana: Matthias Rexroth

    Staatsorchester Stuttgart/Konrad Junghänel

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    'Canzone e Cantate'

    Label: Carus

    Release Date: 18 Oct 10

    Arias and Lieder by Frescobaldi, Monteverdi, Ferrari, Händel, Vivaldi, Geminiani and Paisiello.

    Countertenor: Franco Fagioli
    Lute: Luca Pianca
    Cello: Marco Frezzato
    Harpsichord: Jörg Halubek

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    LEONARDO VINCI 'Artaserse'

    Label: Erato

    Release Date: 15 Oct 12

    Artaserse: Philippe Jaroussky
    Mandane: Max Emanuel Cencic
    Arbace: Franco Fagioli
    Semira: Valer Sabadus
    Megabise: Yuriy Mynenko
    Artabano: Juan Sancho

    Concerto Köln/Diego Fasolis

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    STEFFANI 'Stabat Mater'

    Label: DECCA

    Release Date: 02 Sep 13

    Mezzo-soprano: Cecilia Bartoli
    Countertenor: Franco Fagioli
    Tenor: Daniel Behle
    Tenor: Julian Prégardien
    Bass: Salvo Vitale

    Coro della Radiotelevisione Svizzera
    Barocchisti/Diego Fasolis

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    CALDARA 'La concordia de pianeti'

    Label: Deutsche Grammophon (Achiv Produktion)

    Release Date: 14 Oct 14

    Apollo: Franco Fagioli
    Mercurio: Daniel Behle
    Venere: Delphine Galou
    Diana: Veronica Cangemi
    Marte: Carlos Mena
    Giove: Ruxandra Donose
    Saturno: Luca Tittoto

    La Cetra/Andrea Marcon

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    'Il Maestro Porpora'

    Label: Naive

    Release Date: 03 Oct 14

    Arias by Porpora

    Countertenor: Franco Fagioli

    Academia Montis Regalis/Alessandro De Marchi

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    LEONARDO VINCI 'Catone in Utica'

    Label: DECCA

    Release Date: 22 May 15

    Cesare: Franco Fagioli
    Arbace: Max Emanuel Cencic
    Catone: Juan Sancho
    Marzia: Valer Sabadus
    Emilia: Vince Yi
    Fulvio: Martin Mitterrutzner

    Il Pomo d’Oro/Riccardo Minasi

    Winner Best Opera Recording (17th/18th Century) Echo Klassik Awards

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    Handel Serse
    Il Pomo d'Oro at the Barbican

    “…a night in counter-tenor heaven…Daredevil artistry brings Handel’s tragi-comedy to life

    What a scrumptious spread of musical virtuosity the Barbican has laid on with the aid of its international guests this week. A couple of days after the Australian Chamber Orchestra conquered Milton Court, the ace Baroque ensemble Il Pomo d’Oro stormed the main hall with this concert performance of Handel’s farewell opera, Serse. Yes, it sounds deplorably old-fashioned to treat Handel’s musical dramas – Georgian-style – merely as the showground for vocal pyrotechnics. But the high-wire artistry of Argentinian counter-tenor Franco Fagioli, in the title role, could never count as simply some first-among-equals contribution to the team. The whole side, beyond doubt, sang on top form. Fagioli, though, is something else again. The full-spectrum tantrum of his final aria (“Crude furie degli ‘orridi abissi”) became a quite spectacular hissy-fit. It climbed in a trice from near-baritone depths to stratospheric top notes, hit and kept with an almost contemptuous command.

    Handel wrote Serse in 1738 for Caffarelli – along with Farinelli, one of the pair of superstar castrati who stunned and seduced mid-18th century Europe with the scope and heft of their uncanny sound. Given the paucity of counter-tenors with the sheer horsepower to meet this role’s demands, the part of the petulant Persian emperor regularly falls to women as a breeches role. To hear a dramatic counter-tenor with Fagioli’s gifts scale its heights and depths, however, is to sense the frisson of almost diabolical delight that swooning fans of the great castrati might have felt. When reviewing the ENO’s Porgy and Bess recently, I wondered which other operas start with such a performer-taxing coup as Gershwin’s, as it kicks off straight into “Summertime”. One answer, of course, is Serse. Right after the overture, and a touch of recitative, Handel has the Persian ruler Serse halt on his campaign to conquer Europe and praise a sheltering plane tree with “Ombra mai fù”.

    From the controlled crescendo of his opening note, creamily smooth but never dragging or cloying in the vein of some Handel recitalists, Fagioli declared his intent. Concert performance or not, he acted Serse, and never failed to bring out the comic bombast that Handel often channels into the high-handed king’s music. For Zarathustra’s sake: the great general is apostrophising a plane tree! It’s meant to look absurd. Somehow, as in this aria, Handel takes farcical or melodramatic moments – of which Serse has plenty – and loads them with a musical grace and tenderness that seems to belong on another, higher, plane of being.

    This serio-comic mismatch between convoluted stage business and the soaring glories of the score creates a challenge for any concert version. Even with limited dramatic resources, Serse needs the sparkle of theatre to bring out its chiaroscuro contrasts. In this case, Il Pomo d’Oro’s players sat centre-stage, directed from the harpsichord by their brilliant young chief Maxim Emelyanychev, while the soloists walked on and off to sing their pieces up-front. Sometimes this slowed the pace. Serse’s moods must shift between light and shadow at a quicksilver lick as the Persian king, that ultimate entitled alpha-male, plots to forsake his Egyptian betrothed Amastre and steal the long-suffering Romilda from her fiancé, Serse’s brother Arsamene. Why? Because he can. At some point, I would love to see a frankly post-#MeToo production of Serse, with the casually controlling, and intimidating, king played as a fawned-over, harassment-addicted film director, cabinet minister – or maybe even retail tycoon?

    Serse may be a bully, but he’s also an idiot. As flexible in his gestures as his stupendous voice, Fagioli fully inhabited the role. From his first major aria, “Più che penso alle fiamme”, his quivering, quavering outrage hinted at the adolescent, foot-stamping wilfulness that partners his brute coercive force. The past generation has witnessed a gratifying harvest of world-class counter-tenors. Still, it’s hard to think of another one who combines such dramatic agility and resourcefulness as a singing actor with a vocal range deployed with unstrained assurance over such broad sonic acres. The coloratura swoops, leaps and runs of his aria “Se bramate d’amar” – which closed the first half at the Barbican – crackle around more pensive, yearning passages. These require a restrained stamina and steadiness. Fagioli covered every stylistic base with unerring authority.”
    Boyd Tonkin, The Arts Desk, 27 October 2018

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    21 Nov 17 Handel Serse
    Il Pomo d'Oro at the Château de Versailles

    “Franco Fagioli was perfect as the unpredictable tyrant: he stormed on and off the stage, and he overacted his passion and his rage, bringing the silly story to life with emotional participation. His acting was particularly engaging in the aria closing the first act “Se bramate d’amar chi vi sdegna”, where Serse, tired of Romilda’s refusals, shouts at her that he’s going to forget about her, and then he realizes he has no idea how to stop loving her. Fagioli managed to project the image of an arrogant child who stomps his feet and has no clue about his own emotions and how to handle them, all the while singing with true perfection. He truly confirmed his status as the star countertenor of his generation. His palette of vocal colours was vast, with perfect coloratura, his musicality and sense of the Baroque style astounding. He ventured into variations of the utmost difficulty and originality, but always with a great respect for the music. The standing ovation for him at the end of the opera was endless.”
    Laura Servidei, Bchtrack, 21 November 2017

    “Preuve en est : chaque air —même celui qui dépasse à peine la minute— est applaudi, souvent couvert de bravi éclatant en furie pour ceux de Franco Fagioli. Franco Fagioli incarne Xerxès Ier comme un Empereur et dans les traces de Farinelli. Les vocalises sont d’une virtuosité hallucinante, (ses trilles ont des trilles !) mais les ornements ne sont jamais gratuits : ils soutiennent toujours un propos, et ce grâce à une voix complète. L’interprète porte en effet son falsetto (voix de tête) jusque dans les graves (qualité rare et indispensable pour que cette voix de castrat ne soit pas que pur esprit). Le public vibre d’ailleurs audiblement par les deux bouts de cet ambitus, frémissant de ses suraigus mais aussi de ses appuis poitrinés. Le volume sonore est à la mesure de l’Opéra Royal, tout comme le port de la voix et du corps. Franco Fagioli va jusqu’à offrir une démonstration de doppio messa di voce, c’est-à-dire conduisant la voix du piano au forte, par deux fois dans un même souffle ! La spécificité de son timbre tient enfin à un placement infimement engorgé auquel d’aucuns préféreraient un caractère angélique, mais qui contribue aussi à forger un timbre.”
    Charles Arden, Olyrix, 20 November 2017

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    13 Sep 17 Handel Tamerlano
    Teatro all Scala, Milan

    “Franco Fagioli’s rich, virtuosic countertenor voice is perfect for the tortured Andronico.”
    James Imam, Financial Times, 13 September 2017

    “Franco Fagioli (Andronico, vocalmente sempre impegnato, un miracolo averlo retto con tanta disinvltura)”
    Stefano Jacini, Il Giornale della Musica, 13 September 2017

    “Senesino, created the part of Andronico, here sung by the amazing Franco Fagioli, with his wide extension tirelessly intoning his six arias.”
    Renato Verga, Bachtrack, 14 September 2017

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    18 Jul 17 Rossini Semiramide
    Opera national de Lorraine, Nancy

    “Franco Fagioli is no stranger to Nancy. His big, international breakthrough occurred here in late 212 when he caused a sensation singing Arbace in Leonardo Vinci’s countertenor-rich Artaserse. He has been back since to perform Sesto in La clemenza di Tito. Both were originally castro roles, unlike his latest venture. Rossini expressly wrote Arsace in Semiramide for a contralto, and the role now seems indelibly linked to Marliyn Horne. But Fagioli is not one to shirk a challenge. If the result was not entirely convincing, he still turned the evening into a FagioliFest, tossing off coloratura runs where every note was clear whatever the pace, without the slightest hint of sliding or smudging. He is able to swoop accurately from on high to robust, copper-bottomed chest notes. The audience was on fire from his first aria: even Horne would have been impressed.”
    Francis Carlin, Opera Now, July/August 2017

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    10 May 17 Rossini Semiramide
    Opera National de Lorraine

    “Franco Fagioli est sûrement le premier contre-ténor à oser s’affronter à Arsace, l’un des rôles les plus redoutables, en termes de tessiture comme de virtuosité, qu’ait écrits Rossini pour une mezzo-contralto. Son usage de la voix de poitrine, au registre quasi barytonnant, sa maîtrise des écarts et de la colorature, sa projection dans l’aigu y réussissent plutôt bien, surtout dans les aspects héroïques du rôle.”
    Alfred Caron, L’Avant-Scène Opéra, 07 May 2017

    “Comme la majorité de ses confrères contre-ténors, Franco Fagioli s’est surtout illustré dans les rôles, autrefois dévolus aux castrats, de l’opéra baroque. S’il s’est déjà aventuré en Sesto de La Clemenza di Tito de Mozart (Nancy, 2014) ou en Arsace d’Aureliano in Palmira de Rossini (Martina Franca, 2011), il s’agissait toujours de rôles écrits spécifiquement pour des castrats, Bedini et Velluti respectivement. Avec son disque et sa tournée consacrés à Rossini à l’automne 2016, Franco Fagioli fit forte impression en abordant cette fois les grands airs pour mezzo-sopranos travestis. Qu’en serait-il sur l’intégralité du rôle d’Arsace et en représentation scénique ? La performance est incontestable. Franco Fagioli est probablement le seul contre-ténor à pouvoir affronter avec réussite une telle gageure. Sa technique ébouriffante, l’inouïe étendue de son ambitus, l’inhabituelle puissance de sa projection, la vélocité de la vocalise, la longueur infinie du souffle l’y autorisent.”
    Michel Thomé, Resmusica, 05 May 2017

    “Confier à une voix masculine le rôle d’Arsace, dévolu par Rossini à un contralto féminin – à défaut de castrat – relève également d’une approche baroque rendue seule possible par les moyens phénoménaux de Franco Fagioli. Qu’un contre-ténor, dont la projection est moindre en raison de sa technique d’émission, puisse s’emparer d’une partition si redoutable semblait mission impossible jusqu’à ce que le chanteur argentin repousse les limites de sa tessiture tant en termes de volume que de longueur et de largeur. Est-ce à dire le défi relevé ? Partiellement. L’aptitude à mixer les registres pour descendre bas et monter haut en une ligne plus ou moins confondue, le souffle indispensable pour débiter en rafale une cascade de notes sans jamais donner l’impression de respirer, l’étalage incroyable d’agilité se heurtent à des restrictions physiologiques.”
    Christophe Rizoud, Forumopera, 02 May 2017

    “Il en serait de même de la distribution, où Franco Fagioli s’empare du rôle d’Arsace, rôle travesti affecté par Rossini à un contralto féminin. Sa voix de contre-ténor correspond, jusque dans la colorature échevelée, servie par une tessiture égale où les éclats ne manquent pas. Une prise de rôle attendue, et qui remplit ses promesses.”
    Pierre-René Serna, Concertclassic, May 2017

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    19 Sep 16 Cavalli Eliogabalo
    Opéra National de Paris

    “Franco Fagioli, en particulier, ne recule devant rien, ni les nuances les plus insensées, ni les poitrinages les plus osés, pour faire entendre toute la fureur et faire résonner tout l’hybris de son Eliogabalo.”
    Clément Taillia, Forumopera, 16 September 2016

    “Distribution de rêve : en Eliogabalo, Fagioli fascine par sa compréhension du rôle et l’aplomb avec lequel il se confronte à une écriture vocale aussi capricieuse et excessive que son personage.”
    Alain Cochard, Concertclassic, 16 September 2016

    “…ce rôle qui comporte finalement assez peu de ces traits virtuoses où il excelle, de ces élégies qui épanouissent sa musicalité.”
    Par Marie-Aude Roux, Le Monde, 19 September 2016

    “…le ­contre-ténor Franco Fagioli est à la hauteur de sa réputation dans le rôle-titre (richesse du timbre, virtuosité)…”
    Philippe Venturini, Les Echos, 19 September 2016

    “Sur le plateau, Franco Fagioli ne boude pas son plaisir à incarner cet empereur travesti et dépravé. Véritable acteur, il réussit les nuances les plus complexes.”
    Anne-Laure Faubert, Bachtrack, 19 September 2016

    “Au centre, royal – ou impérial en l’occurrence – dans le rôle de cet adolescent tyrannique propulsé à 14 ans à la tête de l’empire romain, Franco Fagioli campe avec superbe un Eliogabalo contradictoire dont les excès sont tempérés par une sensibilité inattendue. Loin des vocalises éblouissantes des Porpora ou Haendel plus tardifs dans lequel le contre-ténor brille habituellement, l’Argentin montre qu’il s’épanouit avec autant d’aisance dans la pureté de cette musique moins démonstrative et révèle d’autres qualités, s’aventurant en voix de poitrine, renonçant quand il le faut à la joliesse du chant pour donner du sens au texte et osant des nuances inattendues.”
    Albina Belabiod, Opera-online, 21 September 2016

    “La star Franco Fagioli dans le rôle-titre, impérial d’aisance vocale grâce à une diction souple et ronde, ainsi qu’à un timbre chaleureux et enveloppant.”
    Florent Coudeyrat, Concertonet, 22 September 2016

    “Ce dernier est campé par le fabuleux Franco Fagioli pour lequel il semble avoir été taillé : jouant sans complexe des richesses androgynes de son timbre de mezzo qu’il registre à la façon d’un orgue, ne s’interdisant aucun passage en voix de poitrine, aucune interpolation ni fébrile vocalise, il s’empare de la figure immortalisée par Artaud avec un appétit d’ogre.”
    Olivier Rouvière, L’Avant-Scène Opéra, 28 September 2016

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    04 Jul 16 Handel Il Trionfo del Tempo e del Disinganno
    Festival d'Aix-en-Provence

    “Pleasure, the oboe-bright countertenor Franco Fagioli, is Beauty’s ne’er-do-well brother.”
    Zachary Woolfe, New York Times, 03 July 2016

    “Dans son rôle de nightclubber insolent par qui le malheur arrive mais auquel Beauté jure une fidélité absolue, Franco Fagioli hérite de quelques-uns des plus beaux morceaux de la partition, dont le fameux ‘Lascia la spina’, pour lequel il laisse de côté l’étonnante virtuosité qu’il déploie dans le reste de ses arias.”
    Laurent Berry, Forumopera, 01 July 2016

    “Franco Fagioli éblouit par sa virtuosité, mais émeut également dans le célèbre ‘Lascia la spina’, l’air le plus connu de l’ouvrage.”
    Claudio Poloni, Concertonet, 06 July 2016

    “Franco Fagioli, decadent and loose-limbed, offered range and coloring surpassing those of most of his countertenor colleagues. His finest moment was not in the fast fire of the coloratura but in the famous ‘Lascia la spina’—familiar in its later incarnation as ‘Lascia ch’io pianga’ in Rinaldo but first heard in this oratorio—which was gloriously phrased here.”
    Stephen J. Mudge, Opera News, July 2016

    “Plaisir leur tient tête crânement : un Franco Fagioli insolent de présence théâtrale autant que de virtuosité vocale, qui trouve dans ses graves nourris ou ses aigus dardés les séductions propres à garder Beauté (Sabine Devieilhe) dans son camp.”
    Chantal Cazaux, L’Avant-Scène Opéra, 06 July 2016

    “Pleasure, sung by Argentine counter tenor soprano Franco Fagioli soared above the staff in his final aria of banishment. Leaning against the transparent box he sank to the floor delivering wrenching tones of tragic loss, descending well below middle “C” into tenor range though never losing counter tenor color.”
    Michael Milenski, Opera Today, 09 July 2016

    “Franco Fagioli, decadent and loose-limbed, offered range and coloring surpassing those of most of his countertenor colleagues. His finest moment was not in the fast fire of the coloratura but in the famous ‘Lascia la spina’ which was gloriously phrased here.”
    Stephen J. Mudge, Opera News, October 2016

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    13 Jun 16 Recital
    Il Pomo d’Oro/Riccardo Minasi at Wigmore Hall

    “Argentinian countertenor Franco Fagioli made a welcome return to the Wigmore Hall a little more than a year after his acclaimed debut, once more bringing with him a clutch of arias he has already committed to disc. Whereas 2014’s recital was based on works written by Nicola Porpora, this concert featured a more varied palette of music specially composed for the famed Italian castrato Gaetano Majorano, known as Caffarelli. It also provided an opportunity for the excellent players of Il Pomo d’Oro under their director and chief violinist Riccardo Minasi to showcase some lesser-known gems of the Italian Baroque.

    Fagioli’s voice is not as big as that of some other countertenors, but its firmness and agility make it well suited to show-off numbers like ‘Fra l’orror della tempesta’ from Hasse’s Siroe or ‘Crude furie’ from Serse by Handel. In the latter aria, Fagioli effortlessly dipped into baritone territory and back up to mezzo soprano range in the bravura final section, peppered with warbling melismas and added decorations. He clearly enjoyed the vocal acrobatics, which were delivered with the sort of primo uomo aplomb and showmanship that were the stock in trade of the castrati in the 1730s.

    Fagioli also excelled in reflective, emotionally searching arias, such as Hasse’s ‘Ebbi da te la vita’, also from Siroe, and ‘Rendimi più sereno’ from Pasquale Cafaro’s much later 1761 opera I permestro. In this, Fagioli harnessed his assured technique with emotional intensity and just a hint of vulnerability. His diction – which was sometimes glossed over in the more dynamic arias – was also much clearer. These qualities were underlined in a joyful rendition of ‘Dopo notte’ from Handel’s Ariodante, which Fagioli gave as an encore, followed by the pyrotechnics of ‘Fra cento affanni’ from Vinci’s Artaserse.”
    John-Pierre Joyce, MusicOMH, 13 November 2015

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    13 Jun 16 Mozart Lucio Silla
    Theater an der Wien

    “The role of tyrannicidal Cecilio was sung by Baroque music specialist countertenor Franco Fagioli. His performance was certainly a crowd-pleaser and there was much to admire. His word colouring in the recitatives was consistently impressive. The tender Act III ‘Pupille amate’ aria and proceeding recitative displayed outstanding breath control and sensitive word painting.”
    Jonathan Sutherland, Bachtrack, 30 April 2016



Eliogabalo (title role)
Il Giasone (title role)

Ezio (title role)
Orfeo (title role)

Agrippina (Nerone)
Ariodante (title role)
Giulio Cesare (title role)
Poro (title role)
Tamerlano (Andronico)
Il Trionfo del Tempo e del Disinganno (Piacere)
Riccardo Primo (title role)
Rinaldo (title role)
Rodelinda (Bertarido)
Serse (title role)

Siroe (Medarse)

Hänsel und Gretel (Hänsel)

Il ritorno di Ulise in Patria (Telemaco)
L’Incoronazione di Poppea (Nerone)

La clemenza di Tito (Sesto)
La finta Giardiniera (Ramiro)
Le nozze di Figaro (Cherubino)
Lucio Silla (Cecilio)
Idomeneo (Idamante)
Mitridate (Farnace)

Aureliano in Palmira (Arsace)
La Donna del lago (Malcolm)
Semiramide (Arsace)

Artaserse (Arbace)
Catone in Utica (Cesare)

Giulietta e Romeo (Romeo)


Mass in B Minor (Soprano II & Alto)

Joseph and his Brethren (Joseph)
Jeptha (Hamor)
Solomon (Solomon)

Stabat Mater

Mass in C Minor (Soprano II)

Petitte messe solenelle


Read Franco’s interview in Gramophone (April 2017): Countertenor Cool