Paolo Ruggiero, a modern and eclectic baritone, extends his repertoire from important lyric-dramatic roles to buffo roles and noble bass-baritone characters.
His career is based on a solid musical and acting background. In fact, he began his musical studies as a flautist, playing his first concert when he was a teenager.
Amongst his passions, music and contemporary dance are highlighted, and by the way, he had often followed some modern dance courses and studied Musicologist at Bologna University. He participated in several scientific publications such as "Cantar la Patria". He also worked as an actor of prose with several theatre productions like "Un Curioso Accidente" by Goldoni, "Shakespearelove" or "Rossini" by Damascelli.
Opera had always fascinated him even in his childhood and it led him towards a professional interest in this sort of art when he became an adult. He debuted as a chorister in the Petruzzelli Theatre in Bari and he sang at the Maggio Musicale Fiorentino´s Festival. After a while, he played secondary roles and soon he moved on to play principal characters in Operas such as: "Salomé" by Strauss, "Rigoletto" by Verdi, "Il Barbiere di Siviglia" by Rossini or "Les Huguenots" by Meyerbeer.
He succeeded in superior studies of Opera Singing and Composition, while he combined his artistic activities with musical teachings in Italy as well as in foreign countries.
Currently he has to his credit over forty main roles as baritone and bass-baritone: "Nabucco", "Macbeth", Verdi ‘s "Rigoletto". He is Amonasro in "Aida", Don Carlos in "Ernani", G.Germont in "La Traviata", Renato in "Ballo in Maschera", Ford in "Falstaff" or Conte di Luna in "Il Trovatore"… passing through the characters in works of G. Donizetti such as Don Pasquale and Malatesta in "Don Pasquale", Dulcamara in "Elisir d'Amore", Don Alfonso in "Lucrezia Borgia". He had interpreted the roles of Don Giovanni in "Don Giovanni", Figaro and Il Conte in "Le Nozze di Figaro" or Don Alfonso in "Cosí fan Tutte" in Mozart´s Operas. He had sung "Gianni Schicchi" by Puccini, "La Bohéme", "Madama Butterfly", and he was Scarpia in "Tosca" or Lescaut in "Manon Lescaut". Paolo Ruggiero had also worked in diverse operas by authors like Giordano in "Andrea Chenier" as Gerard, Bizet in "Carmen" as Escamillo, Ponchielli in "Gioconda" as Barnaba, Rossini in "Il Barbiere di Siviglia" as Figaro and in "L'Italiana in Algeri" as Mustafá.
He has worked with conductors such as Zubin Mehta, Angelo Campori, Marco Armilliato, Henry Nanasi, Jaques Blanc... in Festivals and Theatres like Regio in Turin, Fenice in Venice, Alt Oper in Frankfurt, Augsburg, Erfurt, Kalgenfurt, Paris, Vienna, Cape Town, Hamburg, Málaga, Sofia, Madrid, Barcelona...etc.
Avantage à Scarpia
La représentation est dominée par le Scarpia de Paolo Ruggiero, un baryton dans la pleine force de ses moyens comme on n’en voit plus guère dans les grandes maisons d’opéra internationales, digne héritier des Cappuccilli, Bacquier et Massard.
Avantage à Scarpia
La représentation est dominée par le Scarpia de Paolo Ruggiero, un baryton dans la pleine force de ses moyens comme on n’en voit plus guère dans les grandes maisons d’opéra internationales, digne héritier des Cappuccilli, Bacquier et Massard. Scarpia est à son répertoire depuis une quinzaine d’années, et l’on doit admettre que sa formation de musicien, de danseur et d’acteur trouvent en ce personnage une parfaite synthèse. Sa voix puissante et sa technique vocale sont splendides, d’une parfaite égalité sur toute la tessiture, et sa stature et tenue en scène excellentes. Quant à la caractérisation du personnage, plus inquiétant par sa violence que par sa fourberie, elle est tout à fait convaincante, puisqu’il arrive à faire frissonner les spectateurs à plusieurs reprises, dont bien sûr lors de la fameuse entrée de la fin du premier acte.