Emiliano Gonzalez Toro (W)

Tenor

Pressreview

« [...] "...Noureddin's serenades, above all, make it a fine vehicle for a high lyric tenor, and are ravishingly sung by Emiliano Gonzalez Toro..." [...] » (Tim Ashley - The Guardian, Thursday 10 April 2014)

La Presseen parle

« Emiliano Gonzalez Toro, voix claire, aux aigus légers et au médium riche, atteint une certaine grandeur. » Forum Opera

La Presse en parle

« La voix est grande et belle, avec des moments de pure beauté. » Classique News

© DR

Emiliano Gonzalez Toro is one of the most prominent tenor of his generation, especially in the Baroque repertoire.

During the 2017-2018 season, he performs as Lenia (Eliogabalo by Cavalli), at the Amsterdam Opera ; Arnalta (Couronnement de Poppée by Monteverdi), at the Zurich Opera ; the title role of Don Quichotte chez la Duchesse (Boismortier), in France and in Malte, with the Concert Spirituel of Hervé Niquet. He participates to the Franco-Luxembourg tour around Bach's Magnificat and Haendel 's Dixit Dominus, with Le Concert d'Astrée under the baton of Emmanuelle Haïm, he participates to the Matthaus Passion European tour of Les Musiciens du Louvre, directed by Marc Minkowki, sings the role of Mercurio ((La concordia de’ pianeti by Caldara) with La Cetra Barockorchester Basel, as well as several programms with Les Talens lyriques (Lully's Alceste, Campra's Requiem and Charpentier's Noël). He also records Vivaldi's Il Giustino, with the Accademia Bizantina under the baton of Ottavio Dantone.

This season also saw the birth of his ensemble I Gemelli, specializing in the music of Seicento, for which he has just signed a first album at Warner / Erato. The first concerts of the ensemble will take place in Neuilly and Geneva.

Among his last stage engagements we can quote his beginning at the Opéra de Paris, in the role of Lenia (Eliogabalo), an European tour with Mozart's Il Re Pastore, directed by William Christie, with Rolando Villazon and the Arts Florissants, the role of Torquemada (L'Heure espagnole by Ravel), with the Orchestre national de Bordeaux-Aquitaine, Eurimaco (Il Ritorno d'Ulisse in Patria by Monteverdi), at the Théâtre des Champs-Elysées and at the Opéra de Dijon or the title role of Monteverdi's L'Orfeo, with the Accademia Bizantina, at the “Monteverdi Festival” in Cremona.

Solicited by severals orchestras and ensemble, besides the Concert Spirituel, the Musiciens du Louvre, and the Concert d'Astrée, he also recently sang with the ensemble Pygmalion in an European tour (directed by Raphaël Pichon) for the Vespro della Beata Vergine (Monteverdi); with Cappella Mediterranea (directed by Leonardo Garcia Alarcon) for the programs Amore Siciliano and Carmina Latina; with Le Poème Harmonique of Vincent Dumestre for Selva Morale e spirituale (Monteverdi) in Perm and Cracovia; with La Cetra – Barockorchester Basel (directed by Andrea Marcon) for Catone in Utica (Vivaldi) in Bâle and Amsterdam; with the Talens lyriques of Christophe Rousset, for the role of Artémidore (Armide by Gluck) at the Philharmonie de Paris and at Theater an der Wien; with the Gulbenkian Orchestra for the Messie (Haendel) in Lisbon and Barcelona; or with Christina Pluhar 's Arpeggiata Ensemble, for the program “Orfeo Chaman”.

Moreover, we also heard him singing with the Orchestre national d'Ile de France, the Porchestre national des Pays de la Loire, the Choeur de Chambre de Namur, the Cris de Paris, the Amarillis Ensemble, the Pulcinella Ensemble, or the Limoges Baroque Ensemble.

At the opera, he performed the title-tole of Platée at the Opéra national du Rhin, with the Talens Lyriques ; King Arthur at the Opéra de Massy with the Concert Spirituel; Linfea in La Calisto at the Bayerische Staatsoper of Munich ; Lalli Roukh in Washington and New York with the Opera Lafayette; Arnalta in L'incoronazione di Poppea, in Oslo, Lille, and Dijon ; the title-roles of Dardanus and Phaëton, Pomponnet in La fille de Mme Angot and Piquillo in La Périchole at the Lausanne Opera ; Trémolini in La Princesse de Trésibonde at the Opéra de Saint-Etienne ; Farnace at the Théâtre des Champs Elysées, Opéra national du Rhin, Amsterdam, Oldenburg, and Lausanne ; Iro in Elena at Angers-Nantes Opéra, and at Opéra de Rennes, in the Aix-en-Provence production (directed by Leonardo Garcia Alarcon) ; the Comte of Commingues in Le Pré-aux-Clercs, at the Opéra comique de Paris and at the Gulbenkian Foundation in Lisbon ; the high priest in Idomeneo at Opéra de Lille; Eumene in Xerse in Lille, Caen, Vienne (Austria) (directed by Emmanuelle Haïm) ; or also Gastone in La Traviata at the Festspielhaus of Baden-Baden.

Born in Geneva from chilean parents, Emiliano Gonzalez Toro is surrounded by latin-american culture. Early, he joined the Geneva's Conservatoire populaire « Les PUERI », with which he makes his debut on the Grand Théâtre stage. After studying the oboe in Geneva and Lausanne (he graduates with a 1st prize, congratulated by the jury), he devoted himself to singing, studying first with Marga Liskutin in Geneva, Anthony Rolfe-Johnson in London, then with Ruben Amoretti in Neuchâtel. He also perfected next to Christiane Stutzmann, in Nancy (France).

He made his debut with pieces like Mozart's Requiem, Haydn's Masses, Haendel's The Messiah, Monteverdi's Vêpres or Bach's Mass in B, Christmas oratorio and Passions, conducted by Michel Corboz among Lausanne's vocal ensemble. He was therefore invited by several festivals as La Chaise-Dieu, Noirlac, Beaune, Ambronay, les Folles Journées de Nantes (France), Utrecht (Netherlands), Granada (Spain), et Lisboa (Portugal).

In his discography, we can find many records with the Talens Lyriques of Christophe Rousset : La Capricciosa Coretta and Il Tutore Burlato (Martin y Soler), Roland and Phaëton (Lully), Il Califfo di Bagdad (M. Garcia), Hercule Mourant (Dauvergne). Furthermore, we can quote records of Les Grands Motets (Lully) with the Spiritual Concert, Pièces pour orgue et voix of César Frank with the Soloists of Lyon, Farnace (role of Aquilo) with I Barrichisti (dir D. Fasolis), the Messes brèves of Bach, BWV 234-235 and BWV 233-236, and the Messe en Si, with the Pygmalion Ensemble, a selection of arias of Bach with the Pulcinella Ensemble, Memento Mori with the Cris de Paris, Le Magnifique, Lalla Rouckh with Opera Lafayette, Les Vèpres (Monteverdi) with the Orlando Fribourg Ensemble, and also with the Arpeggiata and Chrisitina Pluhat, and DVDs of L'Incoronazione di Poppea at the Opéra de Lille and Elena in the Aix-en-Provence production.

In 2016 were released Te Recuerdo, (in memory of the “Nouvelle chanson chilienne” of the 1970's), recorded with his father, Pancho Gonzalez and the great Rolando Villazon and Quito Gato, and also I 7 peccato capitali, (Monteverdi), with Cappella Mediterranea (directed by Leonardo Garcia Alarcon). The album was named in the category “Best record of the year” at the Victoires de la Musique Classique 2017.

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Emiliano Gonzalez Toro Web site

Scope
(W): Monde (EUR): Europe (F): France (*): Not exclusive (F+): France+Benelux+Switzerland

Photos 

Emiliano Gonzalez Toro S2
Emiliano Gonzalez Toro - Stage
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Emiliano Gonzalez Toro - Portraits
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Videos

La Fatal Sentenza, Vivaldi - Vespres d'Arnadí
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