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About Francesco Petrozzi

See 35 performances featuring Francesco Petrozzi
Voice type: Tenor
Future engagements in our database:
Past performances in our database:
Alfred in Die Fledermaus, Op.56 (Bavarian State Opera, 2010)
Alfred in Die Fledermaus, Op.56 (Bavarian State Opera, 2009)
Don Curzio in The Marriage of Figaro (Bavarian State Opera, 2010)
Flavio in Norma (Bavarian State Opera, 2011)
Gaston in La Traviata (Bavarian State Opera, 2010)
Lord Cecil in Robert Devereux (Bavarian State Opera, 2012)
Lord Cecil in Robert Devereux (Bavarian State Opera, 2011)
Lord Cecil in Robert Devereux (Bavarian State Opera, 2010)
Melot in Tristan and Isolde (Bavarian State Opera, 2011)
Melot in Tristan and Isolde (Bavarian State Opera, 2013)
Officer in Ariadne auf Naxos (Bavarian State Opera, 2011)
Roderigo in Otello (Bavarian State Opera, 2013)
Roderigo in Otello (Bavarian State Opera, 2012)
Spoletta in Tosca (Bavarian State Opera, 2011)
Spoletta in Tosca (Bavarian State Opera, 2011)
Spoletta in Tosca (Bavarian State Opera, 2012)
Tideo in Medea in Corinto (Bavarian State Opera, 2012)
Tideo in Medea in Corinto (Bavarian State Opera, 2010)
von Faninal's Major-Domo in Der Rosenkavalier (Bavarian State Opera, 2011)

Read our reviews

Date and venueTitle
21-Jul-2012
National Theatre
An excellent Tosca in Munich with Terfel, Naglestad and Giordano
Image credit: Jonas Kaufmann (Mario Caravadossi), Karita Mattila (Floria Tosca) in the 2010 production at the Nationaltheater © Wilfried HöslIn Tosca there's a real sense of Puccini being at home. Written shortly after La Bohème, when he was right at the height of his powers, Tosca is a story of love, jealousy and political turmoil, taking place in Rome, the same city in which it was premiered. These are events and characters which Puccini could identify with, and the locale was one he knew, not the alien distance of Paris, the Orient or the US, where some of his other best-known operas are set.
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31-Mar-2012
National Theatre
Otello in Munich: Everything Opera Should Be
Image credit: Krassimira Stoyanova and Peter Seiffert © Wilfried HöslOtello is usually considered to be Verdi’s most mature opera. It was one of the last ones he wrote, the result of a plot by his publisher Riccordi and the conductor Franco Faccio to draw him out of early retirement. The result is a work which combines all the aspects of Verdi’s earlier operatic style with Wagner’s concept of Gesamtkunstwerk. Unlike the operas up to Aida, Otello does away with the strict “aria-recitative” division, moving towards the more fluid style of Wagner.
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