Named a “standout whose sound was warm and rich” by Anne Midgette in The Washington Post, bass Patrick Guetti returns to Lyric Opera of Chicago in the 2018 – 2019 season as Fafner in the David Pountney production of Siegfried, conducted by Sir Andrew Davis. Mr. Guetti also returns to Opera Philadelphia as Snug in Britten’s A Midsummer Night’s Dream conducted by Corrado Rovaris. Concert appearances include Verdi’s Messa da Requiem with the New Choral Society, conducted by John King, and Beethoven’s Mass in C Major with the Santa Cruz Symphony, conducted by Music Director Daniel Stewart. Mr. Guetti will also represent the United States in the BBC Cardiff Singer of the World competition in Wales.
The 2019 – 2020 season sees Mr. Guetti’s debut at the Metropolitan Opera as Sarastro in the Julie Taymor production of The Magic Flute. He will also join the ensemble as a featured soloist at Deutsche Oper Berlin with roles including Il Principe di Bouillon in a concert version of Adriana Lecouvreur starring Anna Netrebko, Osmin in Die Entführung aus dem Serail, Peter Quince in a new production of A Midsummer Night’s Dream, Basilio in Il barbiere di Siviglia, the King in Aida, Count Horn in Un ballo in maschera, and the Mayor in new production of La forza del destino, among others.
Operatic roles as a member of the Ryan Opera Center at Lyric Opera of Chicago include Der Polizeikomissar in Der Rosenkavalier conducted by Edward Gardner, Second Armed Man in Die Zauberflöte, Zaretsky in the Robert Carsen production of Yevgeny Onegin, the Mandarin in Turandot, and a Greek Captain in Les Troyens, with cover assignments including Sparafucile in Rigoletto, Hunding in Die Walküre, Timur in Turandot, and Gualtiero in I Puritani. Additional operatic highlights include his debut with the Glyndebourne Festival as the Nightwatchman in a revival of Sir David McVicar’s production of Die Meistersinger von Nürnberg and covering the role of Don Basilio in a new production of Il barbiere di Siviglia, his company debut with Opera Philadelphia as José Tripaldi in Golijov’s Ainadamar, his company debut with Dallas Opera in Francesca Zambello’s production of Salome as the Fifth Jew, and the Commendatore in Don Giovanni with Martina Arroryo’s Prelude to Performance program.
On the concert stage, Mr. Guetti has appeared with the Los Angeles Philharmonic for a concert performance of Tosca as Sciarrone, conducted by Gustavo Dudamel at the Hollywood Bowl. He also appeared with the National Symphony Orchestra for Bernstein’s Songfest, which was recorded live and released on the Naxos recording label.
While studying at the Academy of Vocal Arts in Philadelphia Mr. Guetti appeared as the title role in Don Quichotte, Prince Gremin and Zaretsky in Yevgeny Onegin, Don Basilio in Il Barbiere di Siviglia, Tom in Un ballo in maschera, Arkel in Pelléas et Mélisande, and Crespel and Wilhelm in Les Contes d’Hoffmann. As a member of the Filene Artist Program at Wolf Trap Opera, Mr. Guetti appeared as Sparafucile in Rigoletto with Grant Gershon conducting the National Symphony Orchestra, and as an apprentice at Santa Fe Opera, Mr. Guetti was featured as Leggatt in the world premiere of Theodore Morrison’s Oscar and the American premiere of Dr. Sun Yat-Sen.
Honors and awards include a 2014 grand prize winner of the Metropolitan Opera National Council Auditions, a 2014 Sarah Tucker Grant from the Richard Tucker Foundation, first prize in the Gerda Lissner competition in 2015, Audience Favorite Award at the Giargiri Bel Canto Competition in 2013, and First Prize in the Prémio “Verdi” competition.
“[Patrick Guetti] is attracting attention, and not just for his stature and robust, resonant voice. He also has the acting chops to back them up, praised in both productions for painting sympathetic portraits of potentially two-dimensional characters.”
“bass Patrick Guetti fashioned an imposing Fafner as part of a visually stunning large red dragon… Expect big things on the horizon for Guetti.” - Santosh Venkataraman
“It sounded even more so, bass Patrick Guetti providing aptly snarling lines, his voice every bit as large as one might expect a dragon’s to be.” - Howard Reich
“The tall, handsome bass Patrick Guetti, alumnus of Washington’s own Catholic University of America, brought a menacing tone to the assassin Sparafucile, with shadowy low notes.” - Charles T Downey
“The standout was the bass Patrick Guetti, whose sound was warm and rich as he negotiated “To What You Said,” a setting of a Walt Whitman poem that dances around the idea of homosexuality, Bernstein’s most personal and authentic moment in the whole cycle.” -Anne Midgette
“Bass Patrick Guetti was another standout, in a firm, confident traversal of Bottom's aria, from Britten's "A Midsummer Night's Dream."“ - John von Rhein
“His striking, granitic bass carried the day, and he sang “Il lacerato spirito” from Verdi’s Simon Boccanegra stylishly, down to the sepulchral low notes. He appeared decidedly more relaxed in Rossini’s “La Calumnia” from Il Barbiere di Siviglia, during which he used his long limbs and long hands to fine comic effect.” - Eric Meyers
“His rendition of Fiesco’s aria “Il lacerato spirito” from Verdi’s SIMON BOCCANEGRA was full-bodied, effortless and haunting. Guetti then turned the tables by choosing Don Basilio’s broadly comic–yet threatening–“La calunnia” from Rossini’s IL BARBIERE DI SIVIGLIA and tearing up the stage.” - Richard Sasanow
“Patrick Guetti … seemed completely at home on the Met stage, especially in his gravely compelling account of “Il lacerato spirito,” from Verdi’s “Simon Boccanegra,” a father’s lament.” -Anthony Tommassini