Anderson Barbosa

bass

"Blessed with a powerful voice, a distinctive timbre, and excellent projection, the artist exercised his right to steal the scene, solely by mastering it through the expressiveness of their singing..."

Leonardo Marques, movimento.com

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BIO

Quoted by the Italian magazine L'Opera for the musical and interpretative beauty of his performance as Herman in Tannhäuser, the bass Anderson Barbosa has frequently performed as a soloist in the most prestigious opera theaters and concert halls in Brazil, including Sala São Paulo, Theatro Municipal de São Paulo, Theatro Municipal do Rio de Janeiro, Teatro Amazonas, Teatro Guaíra de Curitiba, Sala da OSPA in Porto Alegre, Teatro da Paz/Belém, Theatro São Pedro in São Paulo, Theatro Pedro II de Ribeirão Preto, Auditório Claudio Santoro in Campos do Jordão, etc.

Among the roles he has portrayed are Sarastro in W.A. Mozart's opera Die Zauberflöte, Superintendent Budd in Britten's opera Albert Herring, Herman in R. Wagner's opera Tannhäuser, Sir John Falstaff in C.O. Nicolai's Die Lustigen Weiber von Windsor, Commendatore in Mozart's opera Don Giovanni, Calchas in Offenbach's opera La Belle Hélène, L’arbre in Ravel's opera L’enfant et les Sortilèges, Colline in Puccini's opera La Bohème, Snug in Britten's A Midsummer Night's Dream, Strojnik in Leoš Janáček's Věc Makropulos, Alfred Doolitle in My Fair Lady, Un père de Famille in Berlioz's L'enfance du Christ, Capelio in I Capuleti e i Montecchi, Swallow in Britten's opera Peter Grimes, and Tchelio in L’amour des Trois Orange.

He has been a soloist in works such as Almeida Prado's Missa da Paz, Beethoven's Ninth Symphony, Mozart's Requiem, Verdi's Requiem, Gounod's Messe solennelle en l’honneur de Sainte-Cécile, and various cantatas by Bach.

He has worked under the musical direction of Luiz Fernando Malheiro, Silvio Viegas, Claudio Cruz, Roberto Minczuk, Priscila Bomfim, Carlos Prazeres, Ira Levin, Abel Rocha, Alex Klein, Andre dos Santos, Catherine Larsen–Maguire, Alessandro Sangiorgi, Gabriel Rhein-Schirato, Manfredo Schmiedt, among others, and under the stage direction of Jorge Takla, Caetano Vilela, Gino Quilico, Mauro Wrona, Caetano Pimentel, Carlos Harmuch.

REVIEWS

"The bass Anderson Barbosa played the role of the knife grinder afflicted with Alzheimer's, also with a beautiful voice and presence." O Afiador de Facas, P. Schlochauer Nelson Rubens Kunze, August 24, 2024 concerto.com.br "The most consistent performance of the night was by bass Anderson Barbosa, who portrayed the oracle Calchas with excellent projection and a beautiful tone – qualities that I had already noticed in Belém when I heard him as the Commendatore in Don Giovanni." La Belle Helene, J. Offenbach Theatro São Pedro Leonardo Marques, movimento.com "Standouts for greater confidence and technically resolved voices include bass Anderson Barbosa as Calchas, especially." La Belle Helene, J. Offenbach Theatro São Pedro João Luiz Sampaio, concerto.com "Regarding the performance of the singers, vocally, there is much to highlight. Anderson Barbosa embodied (and, come on, disembodied...) an imposing Commendatore: a voice of excellent projection, voluminous, dark in the cemetery and banquet scenes, with good low notes and high notes that didn't sound forced." Don Giovanni, W.A. Mozart Teatro da Paz, Belém Érico de Almeida Mangaravite, movimento.com "The bass Anderson Barbosa stood out as Hermann, the Count of Thuring." Tannhäuser, R. Wagner Amazon Theater Nelson Rubens Kunze, concerto.com "Noteworthy was the musical and interpretative beauty of the character "Hermann, Landgrave of Thuringia in Tannhäuser" by Richard Wagner." Tannhäuser, R. Wagner Amazon Theater Opera Magazine "Bass Anderson Barbosa, who played the Commendatore at the beginning of the opera and returned at the end as the ghost of the character embodied in his statue, made excellent use of his opportunity, especially in the final scene (Don Giovanni, a cenar teco). Blessed with a powerful voice, a distinctive timbre, and excellent projection, the artist exercised their right to steal the scene, solely by mastering it through the expressiveness of their singing, despite the naturally restrained gestures of the statue. A voice, in short, worth following." Don Giovanni, W.A. Mozart Teatro da Paz, Belém Leonardo Marques, movimento.com "It is important to note, however, the excellent performance of the young artist "Anderson Barbosa" as the Commendatore." Don Giovanni, W.A. Mozart Teatro da Paz, Belém Nelson Rubens Kunze, concerto.com "The bass Anderson Barbosa also did a great job, playing the Commendatore and his ghost. With his powerful voice and beautiful tone, he dominated the final scene in a terrifying way, with the aria Don Giovanni, a cenar teco – and only with his voice, as even his face was in shadow, and his gestures were minimal (as befits a statue)." Don Giovanni, W.A. Mozart Teatro da Paz, Belém Fabiano Gonçalves, movimento.com "Emerging Artist - Voice 2017: Anderson Barbosa, bass, for his Commendatore (Don Giovanni at Theatro da Paz) and for his Calchas. (La Belle Hélène, Theatro São Pedro)" Movimento.com