(April 2020)
BIO
Mit der „Schönheit seiner Stimme“, seinem „formbaren und strahlenden“ Ton und der „Lebendigkeit seiner Darstellung“ begeisterte der mexikanische Tenor Eleazar Rodríguez bereits in zahlreichen großen Partien in Opern von Mozart bis Wagner sowie in mehreren Uraufführungen. In der Saison 2019/2020 gab er sein Haus- und Rollendebüt an der Opera North als Rodolfo in La bohème und debütierte als Don Ottavio (Don Giovanni) am Badischen Staatstheater Karlsruhe, als dessen Ensemblemitglied er sich seit der Spielzeit 2011/2012 kontinuierlich weiterentwickeln und künstlerisch entfalten konnte. In der Spielzeit 2010/2011 war er Ensemblemitglied am Theater Heidelberg.
Gastengagements führten ihn an die English National Opera London, die Oper Frankfurt, die Oper Graz, das Saarländische Staatstheater Saarbrücken, das Theater Luzern, das Konzert Theater Bern, die Michigan Opera Theatre in Detroit und das Fremont Opera House. In seinem Heimatland Mexiko ist er zudem regelmäßig in Konzerten und Liederabenden zu hören, unter anderem am Teatro del Palacio de Bellas Artes in Mexico City.
Die Geschmeidigkeit seiner Stimme und sein temperamentvolles Wesen machen Eleazar Rodríguez zu einem gefragten Interpreten des italienischen Belcanto und so verkörperte er mit großem Erfolg Rollen wie Roberto (Roberto Devereux), Edgardo (Lucia di Lammermoor), Tonio (La fille de régiment), Lord Richard Percy (Anna Bolena), Nemorino (L’elisir d’amore), Tebaldo (I Capuletti e I Montecchi) und Il Conte Almaviva (Il Barbiere di Siviglia). Großen Beifall erhielt er darüber hinaus für seine Darstellung von Tamino (Die Zauberflöte), Belmonte (Die Entführung aus dem Serail), Ferrando (Così fan tutte), Fenton (Falstaff), Cassio (Otello), David (Die Meistersinger von Nürnberg) und Alfred (Die Fledermaus).
Eleazar Rodríguez, geboren in Piedras Negras, war „Plácido Domingo“-Stipendiat der Sociedad Internacional de Valores de Arte Mexicano, Mexikos renommiertestem Programm zur Förderung junger Künstler, und Preisträger der „Carlo Morelli National Competition“ in Mexico City. Nach seinem Abschluss am San Francisco Conservatory of Music wurde er 2009 in das Merola Opera Program der San Francisco Opera aufgenommen.
Reviews
2021 November, Roberto Devereaux - Cadogan Hall, London
The extremely strong cast was headed by Eleazar Rodriguez who, time and again, made his experience in the title role tell. His tenor was possessed of both warmth and a sense of lightness so that he could make his lines feel both pure and expansive, while his relatively low notes were possessed of considerable depth. He has played the part in fully staged productions, but here succeeded in adjusting his acting style so that his many arm gestures suited the concert setup. Sam Smith, musicomh.com
Alongside her as Essex, Eleazar Rodriguez, had only joined the cast a few days before, but their chemistry was excellent; and he, in turn, delivered his bravura moments with aplomb and his episodes of melancholy, especially in the prison scene, with plausible intensity. playstosee.com
Whilst the singers performed from scores, they were standing and made the relevant entrances and exits. Both Helena Dix and Eleazar Rodriguez had performed their roles on stage, and this showed. The two developed a strong interaction in all their scenes and this spilt over into the other singers, so this was a very dramatic concert performance, and all the better for it.
…
Like many tenors in 19th-century opera, Roberto is a bit of a prat and his actions in the opera (acquiring an incriminating scarf from his beloved Sara and giving her a ring which his life depends on) are on a par with his (historical) actions in Ireland which he is on trial for. Rodriguez has a fine, robust tenor which all the necessary combinations of power and flexibility. He made Roberto sympathetic and had us rooting for him. Whilst he has two double arias (both cavatina plus cabaletta), he also has a duet with Sara and a trio with Elisabetta and Nottingham and it is here, plus in the terrific scene with Elisabetta in Act One, that we really feel Roberto's character develop, and here both Dix and Rodriguez struck sparks off each other in a vivid manner in all their dialogues, really making Donizetti's accompanied recitatives crackle. And there was a similar intensity in Rodriguez scenes with Catherine Carby's Sara. His final scene, in prison, was the moment to shine and Rodriguez sang with real conviction, style and dramatic intensity. planethugill.com
Joining at late notice, the tenor Eleazar Rodríguez more than proved himself in the title role — nowhere more so than in Devereux’s heartfelt soliloquy when awaiting his fate at the Tower of London. Rebecca Franks, The Times
Salome
Roberto Devereux
La Finta Giardiniera
Il barbiere di Siviglia
Don Pasquale
Roberto Devereux
Salome
Roberto Devereux
La Finta Giardiniera
Il barbiere di Siviglia
Don Pasquale
Roberto Devereux
CONTACT
Repertory
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
English National Opera
Chelsea Opera Group
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Opera North
English National Opera
Oper Graz
Badisches Staatstheater Karlsruhe
Badisches Staatstheater Karlsruhe
Theatre Lucerne
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