Symphony Pops, Vocalist - Tenor
Biography

Described as “brilliant” by Opera News, tenor Matthew DiBattista is continually in demand on some of the world's most prestigious stages, having performed opera and concert works throughout the United States and Europe. He has sung with such conductors as Charles Dutoit, Sir Andrew Davis, James Conlon, Seiji Ozawa, Keith Lockhart, and Robert Shaw. Known for an exceptionally varied repertoire, Mr. DiBattista has performed over 60 different roles to date, spanning the entire operatic repertoire.

In the 2017-18 season, Mr. DiBattista makes debuts with Michigan Opera Theatre as Matteo Borsa in Rigoletto, with the Santa Fe Opera as Goro in Madama Butterfly and as Scaramuccio in Ariadne auf Naxos in the summer of 2018. His engagements in the 2016-17 season included a debut with Minnesota Orchestra as the First Jew in Salome, Normano in Lucia di Lammermoor with Lyric Opera of Chicago, Don Basilio in Le nozze di Figaro with Boston Lyric Opera, and Handel’s Ode for St. Cecelia’s Day with Masterworks Chorale. In the 2015-16 season, he returned to Lyric Opera of Chicago as Faninal’s Major-Domo in Der Rosenkavalier, Opera Theatre of Saint Louis as The Dancing Master in Ariadne auf Naxos, and he was soloist in Verdi’s Requiem with the Wichita Symphony Orchestra.

Mr. DiBattista performed the past four seasons with Lyric Opera of Chicago (Parsifal, Cappriccio, Der Rosenkavalier, Lucia di Lammermoor). Other successes include performanceswith the Boston Symphony Orchestra (Die Meistersinger, Vaughn Williams' Serenade to Music, Norma), Glimmerglass Opera (The Abduction from the Seraglio, Falstaff, The Mother of Us All, Of Mice and Men, Central Park), Santa Fe Opera, New Orleans Opera (Pagliacci), Opera Omaha (The Tender Land), Tulsa Opera (Elmer Gantry, Of Mice and Men), Opera Boston (Angels in America, The Rise and Fall of the City of Mahagonny, Madam White Snake, The Nose, Tippett's Midsummer's Dream), Virginia Opera (A Streetcar Named Desire), Opera Colorado (Tosca), Tanglewood Music Center, Long Beach Opera and Chicago Opera Theater (Thérèse Raquin, The Good Soldier Schweik - "Matthew DiBattista portrayed the title character with a Chaplin-esque blend of whimsy and pathos. The luminous quality of DiBattista's tenor was suited to both the mischevious, animated scenes as well as the poignant, affecting arias." - Culture Spot LA), Boston Lyric Opera (Madama Butterfly, Midsummer Night's Dream) and has appeared for eight of the last nine seasons as principal artist with Opera Theatre of Saint Louis (Pagliacci, Il tabarro, The Death of Klinghoffer, Alice in Wonderland, The Magic Flute, Ariadne auf Naxos, The Marriage of Figaro, The Ghosts of Versailles - "as the villain Bégearss, the mega-talented Matthew DiBattista was appropriately showy..." - Opera News).

He has been on the roster of the Metropolitan Opera (Roméo et Juliette) and has won great acclaim in a tour de force assignment -- the four servants in Les contes D'Hoffmann (Florida Grand Opera, Opera Colorado, Boston Lyric Opera, Opera Theatre of St. Louis, Palm Beach Opera). 

On the concert state, Mr. DiBattista has been a soloist in Britten's War Requiem with the Dayton Philharmonic, Mozart's Requiem at the 100 Day Festival in Lisbon, Portugal, Beethoven's Symphony #9 (Boston Landmarks Orchestra at Fenway Park, Fresno Symphony, Wichita Symphony), Carmina Burana (Wichita Symphony, New Orleans Opera), Rachmaninoff's All-Night Vigil (Cincinatti May Festival), Britten's Nocturne (Milwaukee Chamber Orchestra), as well as many performances of Handel's Messiah, Mendelssohn's Elijah, the Bach Passions, Mass in B-Minor, Magnificat and Christmas Oratorio, Rossini's Stabat Mater, Haydn's Creation and Mass in time of War, and Berlioz's L'enfance du Christ with various orchestras and choruses around the country.  

Mr. DiBattista can be heard as soloist in Samuel's Hyacinth from Apollo (Vienna Modern Masters) and as the title role in Kamran Ince's Judgment of Midas (Albany Records). 

03/2018 – PLEASE DESTROY ANY PREVIOUSLY DATED MATERIALS.
MODIFIED VERSIONS MUST BE APPROVED BY BARRETT ARTISTS. 

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