Nahuel Di Pierro Bass

Nahuel Di Pierro was born in Buenos Aires. He studied at the vocal department of the Artistic Institute of the Teatro Colón. He is a former member of the Paris Opera Studio and the ‘Young Singer Project’ from the Salzburg Festival. His operatic repertoire mainly ranges from baroque music to romantic belcanto. He regularly sings concerts and recitals and takes part in many recordings.In the baroque field, he sang Seneca from L’Incoronazione di Poppea, The Cold Genius from King Arthur and Créon from Médée by Charpentier (Zürich), Augure and Plutone from L’Orfeo by Rossi (Versailles), Ismenor and Teucer from Dardanus by Rameau (Bordeaux).

An accomplished Mozartian, he started with Masetto (Buenos Aires, Paris Opera, Théâtre des Champs-Elysées, London, Valencia), then Leporello (Aix-en-Provence, Nancy, Luxemburg) and finally the title-role: Don Giovanni (Buenos Aires, Tel-Aviv). He sang the role of Sarastro from Die Zauberflöte (Dessau, Santiago), Achior from La Betulia Liberata (Salzburg), La Voce from Idomeneo(Paris Opera, Théâtre des Champs-Elysées), Figaro from Le Nozze di Figaro (Buenos Aires), Guglielmo from Cosí fan tutte (Buenos Aires, Aix-en-Provence, New York Mostly Mozart, Edinburgh) and Osmin from Die Entführung aus dem Serail (Zürich).

In the Rossinian repertoire, he performed as Le Gouverneur from Le Comte Ory and Lord Sidneyfrom Il Viaggio a Reims (Zürich), Assur from Semiramide (Nancy), Selim from Il Turco in Italia (Angers, Nantes, Luxemburg), Walter and Melchthal from Guillaume Tell (Bad-Wildbad), Basilio from Il Barbiere di Siviglia (Berlin, Toulouse, Bordeaux), Haly from L’Italiana in Algeri (Buenos Aires, Paris Opera, Bordeaux) then Mustafà in the same opera (Buenos Aires, San Sebastián).

Besides, he also sang Lorenzo from I Capuleti e i Montecchi (Baden-Baden, Geneva, Paris Opera), Alessio from La Sonnambula (Paris Opera), Léandre from L’Amour des Trois Oranges (Amsterdam), Ferrando from Il Trovatore (Toulouse) and Colline from La Bohème (Buenos Aires, Paris Opera, London, Glyndebourne, Baden-Baden, Santiago, Toulouse, Bordeaux).

In the concert field, he took part in many series with the Orchestre national de France (Kurt Masur, James Conlon, Daniele Gatti, James Gaffigan), the Chicago Symphony Orchestra (Riccardo Muti), l’Orchestra Giovanile Luigi Cherubini (Riccardo Muti), the Orchestre de Paris (Louis Langrée, Jérémie Rhorer, Bertrand De Billy), the Ensemble Matheus (Jean-Christophe Spinosi), le Cercle de l’Harmonie (Jérémie Rhorer), the Ensemble Pygmalion (Raphaël Pichon), le Concert d’Astrée (Emmanuelle Haïm), l’Orchestre Révolutionnaire et Romantique (John Eliott Gardiner), the Hallé Orchestra in Manchester (Mark Elder), in such pieces as Haendel’s Messiah, Paisiello’s Missa Defunctorum, Bach’s Johannes-Passion, Dvorak’s Stabat Mater, Mozart’s Coronation Mass / C Mass / Vesperae Solennes de Confessore / Requiem, Berlioz’s L’Enfance du Christ, Rossini’s Stabat Mater, Schubert’s Mass in E-flat major… He sang solo recitals in Paris (Salle Cortot, Athénée), Toulouse (Capitole), London (Wigmore Hall and for the 2018 Proms at the Royal Albert Hall).

His engagements for season 2018-2019: Osmin from Die Entführung aus dem Serail (Zürich), Cadmus / Somnus from Semele (Zürich), Selim from Il Turco in Italia (Zürich), Assur from Semiramide(Pesaro) and in concert: La Betulia Liberata (Salzburg, Paris Seine Musicale), Méphistophélès from La Damnation de Faust (Orchestre national de France, Wiener Symphoniker), La Morte d’Abel by Caldara (Pavia and Salzburg), Mozart Requiem (Gulbenkian in Lisbon), Saint Cecilia Mass by Gounod (Beirut), Stabat Mater by Rossini (Orchestre Lamoureux) and several series with the Ensemble Pygmalion and the Ensemble Diderot.

His engagements for season 2019-2020: Ercole from Ercole Amante (Opera Comique), Osmin Die Entführung aus dem Serail (Geneve) , Le Gouverneur Le Comte Ory (Montecarlo), the tittle role in Don Giovanni (Teatro Mayor Bogota) and Don Basilio Il Barbiere di Siviglia (Nancy)

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“Nahuel Di Pierro, however bass of masterful presence and nobility, to whom Assur’s mad scene offers the opportunity to display all that he can even better demonstrate in another repertoire: line, authority and the ability to reveal the essential cleft behind the beauty of marble.”
Christophe Rizoud / Forumopera
“Nahuel di Pierro offers Hercules a masterful incarnation. Strength, cunning, lust, violence, love and finally majesty: each trace of character is printed in the bass voice with great acuteness and apparent ease.”
Jean Marc Piriou / Bachtrack
“As Seneca, Nahuel Di Pierro is also three-dimensional; his rich, bronzy bass wrapped around us like a warm blanket.”
Sarah Batschelet / Bachtrack
“Di Pierro’s voice is characterised by a distinctive purr in the lower register. Breath control appeared to be extremely developed and phrasing was long and sinuous; Technique was strong, with good diction in three languages.”
Dominic Lowe / Bachtrack
“La rencontre avec Méphistophélès est assez pétillante, et la basse qui l'interprète est très convaincante. Nahuel Di Pierro est constamment dans le registre de la séduction. Mielleux à souhait dans ses intonation, chaleureux, mordant dans le texte. On sent également toute l'ironie du propos de Méphistophélès dans l'interprétation de ce chanteur”
Andika