On May 23rd, Michael will be performing in recital at the distinguished Mondavi Center for the Performing Arts, UC Davis in California. Accompanied by pianist John Churchwell, he will perform songs and arias by Duparc, Liszt, Massenet, Puccini, Tosti, and Verdi. Known for both great vocal technique and intense performances, the New York Post hails Fabiano as “a handsome star in the making … a magnetic presence that draws the eye whatever the visual distraction.” Of this forthcoming recital, Michael says: ”I’m thrilled to be a part of this distinguished recital series in the beautiful state of California, which has played such an important role in my career to date.”
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The 2013-14 season is an extremely exciting one for Michael. He returns to the Opéra National de Paris – Opéra Bastille in September as Edgardo in Donizetti’s Lucia di Lammermoor. The following month he will appear as the tenor soloist in two performances of Verdi’s Requiem with the Richmond Symphony Orchestra, and in a special concert performance of the Requiem with the San Francisco Opera Orchestra and Chorus. He will then be seen on the stage of the Metropolitan Opera in December to sing the role of Alfred in a new production of Johann Strauss’ Die Fledermaus. The Spring of 2014 will find him in Amsterdam to sing the challenging title role in a new production of Gounod’s Faust at the Nederlandse Opera, and then in Glyndebourne in June to make his house debut in a new production of Verdi’s La Traviata as Alfredo.
That Puccini’s La bohème has long been the world’s most popular opera is great for the box office, but a challenge for the people onstage: How can you possibly make your take on Rodolfo, played by every tenor from Pavarotti on down, stand out? Michael Fabiano, one of the two Rodolfos in the double-cast Seattle Opera production that opens tonight, shares his thoughts:
“Knowing that all the greats have put their stamp on this role makes it a humbling task every time I step onstage. For me, Rodolfo has to be played strongly: in emotion, in charisma, in personal appeal, and in decorum. I don’t think Mimi would ever seek to find Rodolfo were he a wallflower and unattractive; she seeks him because she has been watching him and following him for a long time. So while their first moment together onstage is intimate, perhaps embarrassing for Mimi, Rodolfo’s sense of panache and excitement must ring clear. I think also important is that Rodolfo, while strong in many ways, is equally weak in others, and we see that progress through the piece, specifically in the last act, Mimi being the counterbalance to him, regardless of her physical ailments. Rodolfo is at his core a sensitive man. The study process for me has shed light on this strong/weak juxtaposition; initially, I felt Rodolfo to be a whimsical character simply because of his poverty and lack of talent. But he’s not. He’s a man that, while a jokester with his buddies, is serious about his writing and deeply in love … often sharp-witted and totally passionate about his work and the people that he cares so much about.” – Seattle – Voice Places