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Biography  Croatian Bass-Baritone Marko Mimica (1987) participated in the Accademia Rossiniana in 2014 where he sang Lord Sidney Il viaggio a Reims. He returned to the Rossini Opera Festival, Pesaro in Summer 2015 as the Podesta La Gazza Ladra and in 2016 as Duglas La donna del lago in a new production by Damiano Michieletto conducted by M...read more

Representation details:

Ariosi Management Sagl

Biography  Croatian Bass-Baritone Marko Mimica (1987) participated in the Accademia Rossiniana in 2014 where he sang Lord Sidney Il viaggio a Reims. He returned to the Rossini Opera Festival, Pesaro in Summer 2015 as the Podesta La Gazza Ladra and in 2016 as Duglas La donna del lago in a new production by Damiano Michieletto conducted by M...read more

Representation details:

Ariosi Management Sagl
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  • Repertoire (19)
Composer & WorkRoleProductions
Bellini
I Capuleti e i MontecchiCapellio1
I puritaniSir Giorgio1
NormaOroveso6
Berlioz
La Damnation de FaustBrander2

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Reviews

There are few opportunities to hear live performances of Verdi’s I Lombardi alla prima crociata, but the opera has returned to Turin’s Teatro Regio after 93 years. For the occasion, the Regio has opted for a new production from Stefano Mazzonis di Pralafera, Artistic Director of the Opéra Royal de Wallonie, and sourced a starry cast. That it has also enlisted the conductor Michele Mariotti, who is renowned for his interpretations of early Verdi, provides added allure. Giuseppe Gipali’s voice has plenty of penetration, but more charisma was required if he was to convincingly convey the swashbuckling Oronte. Soprano Maria Billeri’s Giselda was, if anything, less convincing: her voice was unfocused and spread thinly at the top, making for uncomfortable listening in the showpiece aria “Non fu sogno”. Marko Mimica, replacing Alex Esposito, made for a stirring Pagano, and there were solid performances from Vladimir Jurlin’s Acciano and Gabriele Mangione’s Arvino. Nevertheless, the big first cast names of Angela Meade and Francesco Meli were telling absences in this performance. Mariotti’s account was closer to routine than some of the trailblazing performances he has given of late, but it was engaging and was enough to salvage this performance. The conductor offered taut rhythms when required, but, as often with Mariotti, there was also lovely elasticity in the tempi. The orchestral depiction of the battle scene, which crackled and snarled, was suitably dramatic, and the chorus did a fine job with their off-stage contributions, which floated into the auditorium to provide Oriental colour. That provided something, at least, to enjoy in this largely dispiriting performance.
James Imam
La Scala in Milan opens its 2021/2022 season with a new production of Verdi's Macbeth by Davide Livermore, carried by a starry set: Anna Netrebko, Ildar Abdrazakov, Luca Salsi and the musical director of the house, Riccardo Chailly in the pit.
Vojin Jaglicic

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