Luca Casagrande

Luca Casagrande, baritone, completed his singing and piano studies with Maestro Alberto Soresina (1911 – 2007) at the Scuola Musicale in Milan.
In 1989 he made his debut as a performer of sacred music in ‘Messiah’ by G.F. Händel, in ‘Johannis Passion’ and in the cantata ‘Christ unser Herr zum Jordan kam (BWV n° 7)’ by J. S. Bach, in Milan.
He has continued since the middle of the 1990s as a peformer of sacred cantatas by J. S. Bach, oratorio by G. F. Händel and Masses by W. A. Mozart in many German and Austrian towns, from Freiburg to Leipzig and Berlin to Salzburg.
He re-approached sacred music in 2005 with the oratorio ‘Theodora’ (Strasbourg) and in 2008 with ‘Belshazzar’ by G. F. Händel, with the ‘Stabat Mater’ by A. Caldara, the ‘Stabat Mater’ by Rossini (Paris).
He made his debut in theatre in 1992, in the Italian première of ‘Mass’ by L. Bernstein with the Orchestra dei Pomeriggi Musicali in Milan, directed by Conductor Giuseppe Grazioli, at Teatro Smeraldo in the Lombard chief town.
Staged performances of Italian baroque operas have followed in Germany, Belgium, the Netherlands, Switzerland, Sweden, Spain, France and the USA. The most important amongst his repertoire: Riccardo in “Il trionfo dell’onore” (Bruxelles, 1995), Eupatore in “Mitridate Eupatore”, Armindo in “Gli equivoci nel sembiante” and Corrado, Prince of Apulia, in “Griselda”, by A. Scarlatti (Washington, Boston, Baltimore, San Francisco, Seattle and Los Angeles, 2001), Marco Aurelio in “Marco Aurelio”, and Pisone in “Alarico” by A. Steffani (Antwerpen, 2001), Varo in “Ezio”, Pallante in “Agrippina” (Halle, 2000), Armindo in “Parthenope” (Chicago, 2003), Bajazete in “Tamerlano” (Drottningholm, 2004/ 2005), Melisso in “Alcuna” (Paris, Berlin, 2004), Garibaldo in “Rodelinda” (New York, 2004/ 2005), Thoas in “Orest” by G. F. Händel (Berlin, 2006).
Since the middle of the 90s he has been also a Mozart performer in German, Belgian, Spanish and French  theatres: “Le nozze di Figaro” (Conte d’Almaviva), “La finta giardiniera” (Ramiro), “Don Giovanni” (eponymous role), “Così fan tutte”  (Guglielmo), “Die Zauberflöte” (Papageno).
At the same time he made his classical repertoire debut in Berlin in his first Verdi role in December 2001: eponymous role in the 1847 version of “Macbeth” followed by the role of Francesco, Earl of Moor, in “I masnadieri” (Paris, Liège 2004/ 2005), and followed by Simon Boccanegra in the role of the title in 2008. In the last years he has devoted himself to the German theatre: Orest in “Elektra”, Der Herr von Faninal in “Der Rosenkavalier” and Mandryka in “Arabella” by R. Strauss; Wolfram von Eschenbach in “Tannhäuser”, Kurvenal in “Tristan und Isolde”, Wotan “Das Rheingold” and “Die Walküre” by R. Wagner, Ottokar in “Der Freischütz” by C. M. Von Weber, Hans in “Der Traumgörge” by A. Von Zemlinsky (Dresden, Berlin and Köln from 2006 to 2008), and Moruccio in “Tiefland” by E. D’Albert (Berlin, 2008). He has performed the Prince Afron in “Il gallo d’oro” by Rimsky – Korsakov and Pelléas in “Pélleas et Mélisande” by C. Debussy (Berlin, 2005/ 2006).
He is also performer of Bellini and Donizetti operas: in the season 2006 / 2007 he made his debut in “Beatrice di Tenda” by V. Bellini in Dresden; among his best performances of the two composers’ opera are “Torquato Tasso”  (Düsseldorf, 1999) and “I Puritani” (Praha, 2001).
He has also performed Rossini in recent years, performing Geronio in “Il Turco in Italia” (München, 2007) and Dandini in “La cenerentola (London – Barcelona, 2007/ 2008).
In the 2006/ 2007 season he had his first South American tour with the Orchestra de S. Paulo, and he made his debut in Miami with the Miami Symphony Orchestra in a Mahler programme at Lincoln Theatre and at the new Carnival center of the Performing Arts.
He supports theatrical and concert activity with intensive work as a theatrical and record producer (since 1994 he has published sixteen record works for Centaurus Music, among which the world recording première of the opera by A. Steffani, “Alarico”), directed above all to the re-discovery and re-proposal of the cantata, sonata, operatic repertoire of the Italian sixteenth and seventeenth centuries, dedicating careful monographs to baroque compositors as A. Scarlatti, A. Steffani, G. Legrenzi, A. Cesti, B. Marcello, G. B. Bassani, A. Stradella.
He busies himself in concerts with mélodies and lieder by H. Berlioz, C. Debussy, A. Roussel, F. Schubert, G. Mahler, C. Saint-Saëns, J. Massenet, M. Ravel, R. Schumann, R. Wagner and others.

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