PiotrBuszewski
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Representation
Worldwide general management with Askonas Holt.
About Piotr
Piotr Buszewski is considered as one of the most exciting young tenors of his generation and is praised by critics for his magnificent clear ringing tenor, nobility of tone and captivating stage presence.
This season sees Buszewski return to the Metropolitan Opera as Tamino The Magic Flute and make his house debut at Teatro dell’Opera di Roma playing Cassio Otello. Elsewhere in 2023/24, Buszewski sings Duke Rigoletto, Italian Singer Der Rosenkavalier for Oper Leipzig, and Alfredo La traviata for Teatr Wielki.
Recent highlights include his debut for the Metropolitan Opera as Chevalier de la Force Dialogues of the Carmelites, Prince in a new production of Rusalka for Théâtre du Capitole du Toulouse, Rinuccio Gianni Schicchi for San Diego Opera, Fadinard in Nino Rota’s Il cappello di paglia for Oper Graz and Rodolfo La Boheme with Teatr Wielki. On the concert stage he appeared with the Warsaw Philharmonic performing Dvorak Stabat Mater.
Buszewki made his house debut appearances at the Deutsche Staatsoper, Berlin as Italian singer Der Rosenkavalier and at the Royal Opera House, Covent Garden as Cassio Otello. He appeared at the Staatsoper Hamburg as Ismaele Nabucco, Nemorino L’elisir d’amore, as well as Duke Rigoletto and Chevalier de la Force Dialogues of the Carmelites, and he sang Rodolfo La Boheme and Nadir The Pearl Fishers for Opera Wrocław. Other recent engagements have also included Tybalt Romeo et Juilette for Atlanta Opera, Camille The Merry Widow in Hong Kong and Nemorino L’elisir d’amore in Leipzig. He is a graduate of the acclaimed Academy of Vocal Arts where he sang Edgardo Lucia di Lammermoor, Prince Rusalka, and Ferrando Cosi fan tutte.
Among his many awards, Buszewski received first prize in the 2019 Loren Zachary Competition, three prizes at the Moniuszko Competition, including Audience Prize, third prize in the Zinka Milanov International Voice Competition, Special Prize at the Otto Edelmann Voice Competition and second prize in the Marcella Sembrich International Voice Competition. He was a finalist of the 2019 Operalia Competition and a finalist in the National Council Awards of the Metropolitan Opera.
Representation
Worldwide general management with Askonas Holt.
Selected Repertoire
Bizet | Les Pêcheurs de perles (Nadir) |
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Donizetti | L'elisir d'amour (Nemorino) • Lucia do Lammermoor (Edgardo) • Don Pasquale (Ernesto) • Il Pigmalione (Pigmalione) |
Dvorak | Rusalka (Prince) • Vanda (Slavoj) |
Gonoud | Le médecin malgré lui (Léandre) • Roméo et Juliette (Roméo • Tybalt) |
Havelvy | La Juive (Prince Léopold) |
Lehár | Paganini (Paganini) |
Mozart | Così fan tutte (Ferrando) • Die Zauberflöte (Tamino) |
Poulenc | Dialogues des Carmélites (Chevalier de La Force) |
Puccini | Gianni Schicchi (Rinuccio) • La bohème (Rodolfo) |
Rota | Il cappello di paglia di Firenze (Fadinard) |
Strauss | Der Rosenkavalier (Ein Sänger) |
Verdi | La Traviata (Alfredo Germont) • Otello (Cassio) • Nabucco (Ismaele) • Rigoletto (Il Duca di Mantua) |
Wagner | Das Rheingold (Loge) |
News
Press
Il Duca di Mantova | Rigoletto | Verdi
Leipzig OperaMar 2024 - Jun 2024Piotr Buszewski stellte den Herzog von Mantua als äußerlich liebenswürdig dar, verbarg aber kaum die Bereitschaft der Figur, seine Machtposition zu nutzen, um andere zu manipulieren, damit sie ihm geben, was er will. Buszewskis reiche Tenorstimme ist für die Ballade im ersten Akt „Questa o quella per me pari sono“ und die Canzone im dritten Akt „La donna è mobile“, die zu den technisch anspruchsvollsten der Oper gehören, ideal geeignet. Stimmlich und visuell hat Buszewski die Komplexität des Herzogs erfasst: die Umgänglichkeit, die unterschwellige Grausamkeit und die erotische Energie, die er in den von ihm gewählten Momenten ausstrahlt. Piotr Buszewski portrayed the Duke of Mantua as outwardly amiable, but barely concealed the character's willingness to use his position of power to manipulate others into giving him what he wants. Buszewski's rich tenor voice is ideally suited to the ballad in the first act, "Questa o quella per me pari sono", and the canzone in the third act, "La donna è mobile", which are among the most technically demanding in the opera. Vocally and visually, Buszewski has captured the complexity of the Duke: the affability, the subliminal cruelty and the erotic energy that he radiates in the moments he has chosen.
- Dr. Daniel Floyd, Das Opernmagazin
- 15 March 2024