FEDERICO DE MICHELIS
Federico De Michelis is a knock-out, perhaps the best voice on stage, as actor and manager Thomas Betterton.”
ABOUT FEDERICO DE MICHELIS
Argentinian bass-baritone Federico De Michelis, whom Opera News praised as “singing with a
deep-voiced authority.” In the 2020-2021 season, Mr. De Michelis will return to the Gran Teatre
del Liceu in Barcelona as Colline in La bohème as well as at Seattle Opera. He also makes his
house debut at Dutch National Opera in the role of the Sagristano, in a new production directed by Barrie Kosky and conducted by Lorenzo Viotti. In concert, he will sing
Beethoven’s Symphony No. 9 both with the Greensboro Symphony Orchestra and at the Curtis
M. Phillips Center for the Performing Arts in Gainesville, Florida.
In the 2019-2020 seaosn, Mr. De Michelis made his role and house debut as Leporello in Don
Giovanni at Florida Grand Opera and returned to Houston Grand Opera as Balthazar in
Donizetti’s La Favorite. Over the summer, he made his debut at the New Generation Festival in
Florence, Italy, as Don Magnifico in La Cenerentola. Concert highlights included performing at
Opera Louisiane’s opening night gala and Handel’s Messiah with the North Carolina Symphony.
During recent seasons, he returned to the Houston Grand Opera as Colline in La bohème, Achilla
in Giulio Cesare, Dr. Dulcamara in L’elisir d’amore under the baton of Jane Glover, and
Nourabad in Les pêcheurs de perles, a role he reprised in his debut at the Gran Teatre del Liceu.
He also reprised the role of Mr. Flint in Billy Budd with Central City Opera, made his house
debut at Palm Beach Opera in the title role of Le nozze di Figaro, sang Brander in La damnation
de Faust at the Aspen Music Festival, and sang Mr. Flint and Timur in Turandot at Des Moines
On the concert stage, Mr. De Michelis debuted with the Philadelphia Orchestra as Sciarrone in
Tosca under the baton of Yannick Nézet-Séguin, sang Mozart’s Mass in C minor in his debut
with the North Carolina Symphony, and presented a series of concerts in Key West, Florida, as
part of the Florida Keys Concert Association. Internationally, he performed in a tour of Spain
organized by the Fundación Albéniz, in a Christmas concert for the Royal Family of Spain at the
Palacio Real de Madrid, and in concerts with the Nürnberger Symphoniker in Nürnberg and
In earlier seasons at Houston Grand Opera, Mr. De Michelis sang Thomas Betterton in the world
premiere of Carlisle Floyd’s Prince of Players, conducted by Patrick Summers, Angelotti in
Tosca, Zaretsky in Eugene Onegin, the King in The Little Prince, the cover of the title role and
Antonio in Le nozze di Figaro, and selected scenes as Tiridate in Radamisto and Figaro. He also
debuted at the Aspen Music Festival, performing Colline in La bohème. At the Auditorio Sony
Madrid, he sang Leporello in Don Giovanni, the title role in Don Pasquale, and Don Magnifico
in La Cenerentola. While at the Opera Studio of Teatro Argentino de La Plata, he performed
Don Alfonso in Così fan tutte, Antonio in Il viaggio a Reims, El Hombre Mayor in Gandini’s
contemporary opera La ciudad ausente, Johann in Werther, Narrator in Rota’s I due timidi,
Plutone in Monteverdi’s Il ballo dell’ingrate, and Tempo in Monteverdi’s Il ritorno d’Ulisse in
Born in Buenos Aires, Federico De Michelis received 3rd
prize in the Eleanor McCollum
Competition at Houston Grand Opera, and was named “Outstanding Student” by Her Majesty
Queen Sofía of Spain.
An opera singer with the soul of a bandoneon, Federico explores genres and sounds, melodies and stories, creating spaces where entertainment, sensibility and art meet.
“Bass Federico de Michelis’ Colline steals the show with his last act and melancholy farewell to his worn topcoat.”
''Federico De Michelis consiguió ... hacer un Nourabad de impecable impostación en toda la gama''.
''Leporello, Giovanni's majordomo and sidekick, was well drawn by bass-baritone Federico De Michelis, credibly portraying the frustrations with and love for his master, maintaining a sense for self-preservation with good comic timing, resisting an over-the-top performance which could easily come to this character.
His round bass-baritone served him well on his arias – dreaming of being free from the demands of his boss in the recognizable "Notte e giorno faticar" and with the amusing "Catalogue Aria" ("Madamina, il catalogo è questo")''