tenor

Described as “brilliant” by Opera News, tenor Matthew DiBattista is in demand on some of the world's most prestigious stages. He has sung with such conductors as Charles Dutoit, Sir Andrew Davis, James Conlon, Seiji Ozawa, Keith Lockhart, and Robert Shaw.

In the 2017-18 season, Mr. DiBattista made debuts with Michigan Opera Theatre as Borsa in Rigoletto, the Santa Fe Opera as Goro in Madama Butterfly, and Scaramuccio in Ariadne auf Naxos.  His 2018-19 season includest Triquet in Eugene Onegin and the Witch in Hansel und Gretel with Michigan Opera Theatre, soloist in Britten's War Requiem with the Wichita Symphony, and the Doctor in Poul Ruder's The Handmaid's Tale with Boston Lyric Opera. 

Recent engagements include a debut with Minnesota Orchestra as the First Jew in Salome, Normano in Lucia di Lammermoor with Lyric Opera of Chicago, Don Basilio in Le nozze di Figaro with Boston Lyric Opera, his return to Lyric Opera of Chicago as Faninal’s Major-Domo in Der Rosenkavalier, Opera Theatre of Saint Louis as Tanzmeister in Ariadne auf Naxos, and soloist in Verdi’s Requiem with Wichita Symphony Orchestra.

In addition to performances with Lyric Opera of Chicago (Parsifal, Capriccio), Mr. DiBattista has performed with the Boston Symphony Orchestra (Die Meistersinger, Tosca, Norma), Glimmerglass Opera (Central Park, Falstaff), Opera Boston (Angels in America, The Rise and Fall of the City of Mahagonny, The Nose, Midsummer's Dream), Long Beach Opera and Chicago Opera Theater (Thérèse Raquin, The Good Soldier Schweik), Boston Lyric Opera (Madama Butterfly, Midsummer Night's Dream) and as principal artist with Opera Theatre of Saint Louis (including Pagliacci, The Death of Klinghoffer, The Magic Flute, The Ghosts of Versailles).

He has won great acclaim in a tour de force assignment -- the four servants in Les contes d'Hoffmann (performances in Miami, Denver, Boston,  St. Louis, Palm Beach).

Performances

Gerswhin Double Bill
Jordan Hall at New England Conservatory | October 12, 2024
Concert Details
The Lord of Cries
Jordan Hall at New England Conservatory | November 19, 2022
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Haroun and the Sea of Stories
Jordan Hall at New England Conservatory | January 19, 2019
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Blizzard Voices
Jordan Hall at New England Conservatory | March 5, 2015
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The Midsummer Marriage
Jordan Hall at New England Conservatory | November 10, 2012
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News and Press

[Concert Review] Moravec’s stunning “Blizzard Voices” receives powerful premiere from BMOP

Disastrous winters live long in historical memory. For example, there is the blizzard that hit the Great Plains in January of 1888, which caught many who lived in the Midwestern territories unawares. Known as the Children’s Blizzard, the storm trapped students and teachers in their one-room schoolhouses where they remained for days. Many who ventured out into the storm succumbed to frostbite. Others froze to death. In conservative estimates, several hundred people died.

Boston Classical Review Full review
[Concert Review] Michael Tippett's Midsummer madness

The first American production of any of Michael Tippett's five operas was Sarah Caldwell's The Ice Break for the Opera Company of Boston in 1979. In 1991, BU students did The Knot Garden. This year, Opera Boston scheduled the first Boston production of The Midsummer Marriage, Tippett's first opera (completed in 1952, after six years of work). But Opera Boston folded.

The Boston Phoenix Full review
[Concert Review] Midsummer Marriage: Strange & Wonderful

Saturday night Jordan Hall was, perhaps, half full for three hours of memorable music as Gil Rose conducted Boston Modern Orchestra Project in a concert performance of Michael Tippett’s 1955 opera, The Midsummer Marriage.

The Boston Musical Intelligencer Full review
[Concert Review] A Phoenix Rises from the Ashes of Opera Boston

Boston opera buffs were dealt a hard blow last December when Opera Boston, a company known for innovative productions of less familiar repertory, announced it was shutting down amid a financial and managerial crisis. But the company’s ambitious plans were not entirely sent to the scrap heap of operatic history: Sir Michael Tippett’s opera, The Midsummer Marriage – planned as the centerpiece of the company’s 2012 season – was reconceived as a concert production Saturday at Jordan Hall by the Boston Modern Orchestra Project (BMOP).

WQXR Full review
[Concert Review] BMOP proceeds with Tippett's 'Midsummer Marriage'

Before a note was played, Saturday night’s Boston Modern Orchestra Project performance of Michael Tippett’s first mature opera, “The Midsummer Marriage,” generated more good will and broader public curiosity than the average season-opener. That’s because the now-defunct Opera Boston had this rarely spotted Tippett opera on its agenda long before the company abruptly folded last December.

The Boston Globe Full review
[Concert Review] BMOP gives worthy advocacy to Tippett's unwieldy "Midsummer Marriage'

One door closes, another opens. With the demise of the ambitious company Opera Boston last year, director Gil Rose lost a chance to explore some of the gems in the outermost reaches of the stage repertory.

Fear not. Rose simply brought one such rarity, Michael Tippett’s The Midsummer Marriage—slated last season for Opera Boston but left unperformed—to his other adventurous ensemble, the Boston Modern Orchestra Project. BMOP performed a semi-staged version of the mid-20th century opera Saturday evening at Jordan Hall.

Boston Classical Review Full review