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PETER VOLPE
BASS
BIOGRAPHY
Praised for his “stentorian” and “robust bass” by The New York Times, venerable American bass Peter Volpe continually receives critical and popular acclaim across four continents for his powerful command and the rich texture of his timbre. Possessing a vast and ever-expanding repertoire encompassing more than 90 roles in six languages over the course of his 35+ year career, his captivating style and interpretive skill embraces the depth of every historical and fictional character he embodies. Of his recent portrayal of Prince Gremin in Eugene Onegin for the Spoleto Festival USA, Opera News applauded his ability “to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of tone, together with his intelligent interpretation, won him a well-deserved ovation.” Last season, Mr. Volpe performed Zaccaria in Washington Concert Opera’s production of Nabucco and sang Sparafucile in Pacific Symphony’s Rigoletto. This season, he will be seen in Pittsburgh Opera’s production of Der fliegende Holländer as Daland.
Recently, Volpe performed the roles of Old Hebrew in Samson et Dalila, Il Commendatore in Don Giovanni, and King Philip in Don Carlo with Washington National Opera, Sparafucile in Rigoletto and Daland in Der fliegende Holländer with Austin Opera, Judge Turpin in Christopher Alden’s production of Sweeney Todd at the Glimmerglass Festival, a role he also performed with New Orleans Opera, and Basilio in Il barbiere di Siviglia with Florentine Opera.
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CRITICAL ACCLAIM
"...commanding, deep and penetrating voice...” – Nuvo Indy’s Alternative Voice
Don Giovanni – “Hearing Peter Volpe as the Commendatore was the biggest treat of them all. His scene in Act 2, as the ghost trying to get a stubborn Don Giovanni to change his ways was chilling and even frightening with his commanding, deep and penetrating voice.”
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“...the standout performer of the evening..." – Austin Post
Don Carlo – “The standout performer of the evening was Peter Volpe as King Phillip. His stage presence and deep bass were captivating”
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"...a commanding presence..." – Opera Japonica
Aïda – “Peter Volpe, too, was a commanding presence and his Ramfís was vocally solid down to the lowest notes.”
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"...full-bodied bass and great candor of tone..." – Opera News
Eugene Onegin – “Peter Volpe, looking younger than many who take on the role of Prince Gremin, managed to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of tone, together with his intelligent interpretation, won him a well-deserved ovation.”
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"...his virile bass caressed “Deh vieni alla finestra” sensuously…” – Opera News
Don Giovanni – “Peter Volpe’s handsome figure and aristocratic bearing made for good casting as Giovanni. His virile bass caressed “Deh vieni alla finestra” sensuously…”
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"...a commanding presence..." – Opera Japonica
Aïda – “Peter Volpe, too, was a commanding presence and his Ramfís was vocally solid down to the lowest notes.”
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"...full-bodied bass and great candor of tone..." – Opera News
Eugene Onegin – “Peter Volpe, looking younger than many who take on the role of Prince Gremin, managed to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of tone, together with his intelligent interpretation, won him a well-deserved ovation.”
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"...his virile bass caressed “Deh vieni alla finestra” sensuously…” – Opera News
Don Giovanni – “Peter Volpe’s handsome figure and aristocratic bearing made for good casting as Giovanni. His virile bass caressed “Deh vieni alla finestra” sensuously…”