The 2015-16 season promises to be a thrilling one for Michael, with Verdi assuming pride of place. He will open the season at the San Francisco Opera as Rodolfo in Luisa Miller, and will return in June to sing the title role in Don Carlo. He will also perform the Duke in Rigoletto at the Opernhaus Zurich, and in a new production at the Opéra National de Paris–Opéra Bastille. Michael will complete his season singing Jacopo Foscari in three concert performances of I due Foscari at the Teatro Real. In addition, he will sing Rodolfo in a new production of La Boheme at the Opernhaus Zürich, and make his debut at the Royal Opera as Lenski in Eugene Onegin. Visit the Calendar page of Michael’s website for specific performance dates.
Michael Fabiano, a rising star in world opera, had almost made it.
Given only seven hours to prepare for the role of Edgardo in Donizetti’s Lucia di Lammermoor at New York’s prestigious Metropolitan Opera House when a cast member fell sick, he had just the tragic finale to go before a standing ovation.
Then disaster struck as he exited the unfamiliar stage.
“I ran off stage and ran into a dark area and hit my head into a light, and really hit the deck,” he told The Telegraph.
Blood poured from a gash as medical staff did their best to patch him up in the 10 minutes before his final, climactic scene.
“But I said I had to focus,” said Mr Fabiano, 30. “I had to get ready. I had to think about the last scene, which again I hadn’t done for a year and a half. I needed to take two minutes to think about it.”
The hot young tenor Michael Fabiano was out running errands near his home in Philadelphia around 1 p.m. on Wednesday when the Metropolitan Opera called, wondering if he could step in for an ailing tenor in its production of Donizetti’s “Lucia di Lammermoor.” The curtain would rise in six and a half hours. In New York.
He had never seen the Met’s production, let alone rehearsed it — so doing the performance might strike some as the operatic equivalent of the nightmare about taking the final exam for a class you never attended. But after running home to his piano to make sure he remembered the role, Mr. Fabiano agreed, and caught a 2:05 p.m. Amtrak train to Penn Station.
He was a tenor in a hurry. He arrived at the opera house before 4 p.m., and one of the first questions he asked the stage director, Sarah Ina Meyers, was, “Is there any sword fighting?”
“Very little,” she replied.