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MATHEUS FRANÇA
bass

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RECENT AND UPCOMING ENGAGEMENTS

-  Papageno in Mozart's Die Zauberflöte, Don Alvaro in Rossini's Il Viaggio a Reims and Lescaut in Puccini's Manon Lescaut, at the Ópera Nacional de Chile;


- Don Rodrigo in Boscovich's El Caballero de Olmedo and Putifar in Lléo's La Corte de Faraón, at the Teatro de la Zarzuela de Madrid;

- Conte Robinson in Cimarosa's Il Matrimonio Segreto, at the Teatro Regio di Parma;
 
- Silvio in Leoncavallo's I Pagliacci, at the Teatro Greco di Taormina;

- Bello in Puccini's La Fanciulla del West, at the Opéra National de Lyon;

- Black Bob in Britten's The Little Sweep, at the Ópera de Tenerife;

- Taddeo in Rossini's L'Italiana in Algeri, at the Teatro delle Muse di Ancona.

BIOGRAPHY

Chilean baritone Ramiro Maturana joined the Accademia del Teatro alla Scala in 2017, having the opportunity to make his debut in the mythic theatre in the 2017-18 season as il Giovane Cantore in the world premiere of Salvatore Sciarrino’s Ti Vedo, Ti Sento, Mi Perdo, Phaor in Cherubini’s Ali-Babà and Perückenmacher in Ariadne auf Naxos. In the season 2018-19, also at La Scala, he sang Belcore in L'Elisir d'Amore, Marullo in Rigoletto, Poeta in Salieri’s Prima la Musica e poi le Parole and Spinelloccio in Gianni Schicchi, directed by Woody Allen.

 

Some roles that stand out as for previous seasons are his debut as Don Alvaro in Rossini’s Il Viaggio a Reims, at the Rossini Opera Festival; Baron de Pictordu in Viardot’s Cendrillon, at the Teatro Real de Madrid; Belcore in L’Elisir d’Amore; at the Grand Théâtre de Genève; the title role in Mozart’s Don Giovanni, at the Teatro Regional del Maule (Chile); the title role in Keiser’s Crésus, at Athénée Théâtre Louis Jouvet (Paris), and Taddeo in L’Italiana in Algeri, at Teatro Rossini di Pesaro and Teatro delle Muse di Ancona.

 

With the Chilean National Symphony Orchestra, Maturana sang solo parts in Carmina Burana, Brahms’s Ein Deutsches Requiem, Beethoven's 9th Symphony, Britten's War Requiem and Haendel’s The Messiah, Bach’s St. John's Passion. He has performed recitals at Teatro alla Scala, Carnegie Hall, Palau de la Música Catalana and Ópera Nacional de Chile.

Ramiro Maturana’s 2022-23 season started at the Palau de la Música Catalana, with J. S. Bach’s Magnificat. Then, at the BRQ Vantaa Festival (Finland), he also sang Bach cantatas. His operatic season started at the Teatro Rossini di Pesaro, singing the role of Andrea in Generali’s Cecchina Suonatrice di Ghironda. Following, he sang Lescaut in Puccini’s Manon Lescaut, at the Ópera Nacional de Chile - role for which he won the 2022 Opera Award, from the Circle of Art Critics of Chile; Conte Robinson in Cimarosa’s Il Matrimonio Segreto, at the Teatro Regio di Parma, and Black Bob in Britten’s The Little Sweep, at the Ópera de Tenerife.

 

In the season 2023-24, Ramiro is performing roles such as Silvio in Leoncavallo’s I Pagliacci, at the Teatro Greco di Taormina; Don Rodrigo in Boscovich’s El Caballero de Olmedo, at the Teatro de la Zarzuela de Madrid; Don Alvaro in Il Viaggio a Reims, at the Opéra Nacional de Chile; the solo part in Carmina Burana, at the Teatro Municipal de Las Condes (Chile), and Bello in Puccini’s La Fanciulla del West, at the Opéra National de Lyon.

  

His next engagements include Papageno in Die Zauberflöte, at the Ópera Nacional de Chile, and Putifar in V. Lléo’s La Corte de Faraón, at Teatro de la Zarzuela.

REVIEWS

“The chilean baritone Ramiro Maturana, who was also making his debut on the Madrid
stage, gave his antagonistic role a performance full of character, standing out as a talented baritone with ample command of the low register and owner of great vocal projection.”

Rocío Garcialonso - Opera Actual

“Ramiro Maturana sang with extreme musicality and powerful voice, both in the first part
and later as Pater Ecstaticus, with his beautiful and characteristic timbre, he did it with
elegance and notable phrasing, which is why he obtained a resounding success.”

Gilberto Ponce - Visiones Críticas

“Ramiro Maturana, who has an important voice and shows an appropriate technique to
manage it with confidence. His musical taste was managed wisely, so as not to overflow
completely the stage direction.”

Domenico Ciccone - Operaclick

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