About Gustavo López ManzittiREAD BIO
In 2018 Gustavo López Manzitti returns to Teatro Colón of Buenos Aires as the poet Rodolfo in La Bohéme and, by invitation of the Staatsoper Berlin, will participate in Tristan und Isolde under the baton of Daniel Barenboim.
Earlier this year he performed his renowned portrayal of Jim Mahoney in Aufstieg und Fall der Stadt Mahagonny at Teatro Mayor of Bogotá, Colombia. Also in that theatre Mr. Manzitti sung Beethoven’s Ninth Symphony with the Wiener Akademie conducted by Martin Haselböck. After that he sung Don Carlo at Teatro del Bicentenario in San Juan and the soloist tenor of Das Lied von der Erde by Gustav Mahler in Paraná, Argentina.
He also personified Marceau of the opera Blanca de Beaulieu in CCK theatre.
In 2017 Gustavo López Manzitti performed the main roles in three new productions of Teatro Colón: Maurizio in Adriana Lecouvreur, Jim Mahoney in Aufstieg und Fall der Stadt Mahagonny and his signature role Andrea Chénier. He also starred as Pinkerton in Madama Butterfly at Teatro Municipal of Bahía Blanca.
The tenor’s intense performance of E lucevan le stelle stopped the show as he awaited the firing squad.
he rendered an touching Werther, profoundly connected with this character. He had moments of great impact. It has been a long time since a tenor hadn’t moved me up to tears in the end of Act I, when (Werther) grasps the fate that awaits him (“A ce serment… restez fidèle! Moi… j’en mourrai! Charlotte!”). His scene in the third act with Charlotte was of such an intensity by both performers that drove the performance to a halt, to Levin’s evident displeasure, because the audience exploded in a thunderous applause.
Some notes are enough for appreciating the quality of the Argentinian singer. He is irrefutably “the” discovery of the soirée, splendid interpreter, profoundly expressive, completely committed. His voice is rich, free, without weaknesses.
In the renowned ‘improvviso’ of the first act he excelled because of his phrasing and vocal subtetly. Heroic and romantic in the second act, his intense ‘Sí, fui soldato’ in the third act was truly memorable, and of superior quality the whole fourth act. A truly afternoon of triumph for the argentinian tenor.
Manzitti’s “Vesti la giubba” was sung with pathos, passion and power and his cries of “Infamia” are etched in my heart. His singing of “No Pagliaccio non son” was sung with rageful abandon… His cries of “E il nome” demanding to know Nedda’s lover’s name, had us at the edge of our seats.
‘Pagliacci’ hangs entirely on the shoulders and lungs of its star, and Gustavo López Manzitti fit the bill with gusto, bringing down the house with a heartfelt and chilling rendition of ‘Vesti la giubba,’ one of the signature arias of all opera.
Gustavo Lopez Manzitti turned his Manrico into a living, breathing person, and his urgent but creamy tenor voice brought down the house in “Di quella pira”.
Gustavo López Manzitti has the rakish good looks and virile voice to explore the intricacies of the character’s twisted passions. Manzitti exploits the work’s most famous aria “Donna é mobile” (Fickle is woman fair) in Act III to reveal his own callow selfishness and to drive the ironic message of the plot.