Davide Luciano

Davide Luciano

Der italienische Bariton Davide Luciano wurde in einer Musikerfamilie in Benevento geboren und studierte bei Gioacchino Zarrelli, mit dem er weiterhin zusammenarbeitet. Zu seinen Engagements in den Jahren 2019/20 und 2020/21 zählen Belcore (L'ELISIR D'AMORE) bei seinem Debüt an der Mailänder Scala, Guglielmo (COSÌ FAN TUTTE) und Graf Almaviva (LE NOZZE DI FIGARO) an der Niederländischen Nationaloper in Amsterdam, Marcello (LA BOHÈME) an der Opéra de Monte-Carlo, Malatesta (DON PASQUALE) am Teatro del Maggio Musicale Fiorentino, Figaro (IL BARBIERE DI SIVIGLIA) in einer Inszenierung der Oper Rom im Circus Maximus der Stadt und Guglielmo (COSÌ FAN TUTTE) und Ford (FALSTAFF) im Palau de les Arts Reina Sofia in Valencia. Zu den weiteren Höhepunkten der letzten Zeit zählen sein Debüt an der Metropolitan Opera als Belcore (L’ELISIR D’AMORE) und seine Rückkehr an das Haus als Schaunard (LA BOHÈME), sein erster Graf Almaviva an der Opéra national du Rhin in Straßburg und anschließende Auftritte in derselben Rolle an der Deutschen Oper in Berlin, Schaunard beim Tanglewood Festival 2018 mit dem Boston Symphony Orchestra unter Andris Nelsons, Rossinis Figaro am Teatro Regio in Turin und bei seinem Debüt an der Niederländischen Nationaloper, Silvio (PAGLIACCI) am Teatro San Carlo in Neapel und Marcello bei seinem Debüt an der Bayerischen Staatsoper in München.

Als Mitglied der Accademia Rossiniana trat Davide Luciano beim Rossini Opera Festival 2014 als Don Profondo (IL VIAGGIO A REIMS) auf und kehrt seitdem regelmäßig als Haly (L'ITALIANA IN ALGERI), als Batone (L'INGANNO FELICE), als Macrobio (LA PIETRA DEL PARAGONE), als Figaro 2018 und als Buralicchio (L'EQUIVOCO STRAVAGANTE) 2019 nach Pesaro zurück.

Davide Luciano tritt regelmäßig an der Deutschen Oper Berlin auf, wo er unter anderem als Don Giovanni, Rossinis Figaro, Marcello, Belcore, Cecil (MARIA STUARDA), Don Profondo und Nottingham in konzertanten Aufführungen von ROBERTO DEVEREUX zu hören war. Zu den früheren Engagements gehören Mozarts Figaro am Teatro Real in Madrid und beim Glyndebourne Festival, Leporello (DON GIOVANNI) an der Norwegischen Nationaloper in Oslo und am Theatro Municipal in São Paulo, Rossinis Figaro am Teatro de la Maestranza in Sevilla, an der Semperoper Dresden, an den Caracalla-Thermen in Rom und am Teatro La Fenice in Venedig, Malatesta am La Fenice, Guglielmo an der Norwegischen Nationaloper, Don Alvaro (IL VIAGGIO A REIMS) an der Royal Danish Opera, Silvio (PAGLIACCI) in São Paulo, Gernando in Jommellis L'ISOLA DISABITATA in Neapel und Pacuvio (LA PIETRA DEL PARAGONE) am Théâtre du Châtelet in Paris. Nach seinem Debüt bei den Salzburger Festspielen als Don Giovanni plant Davide Luciano unter anderem Rossinis Figaro in Wien, New York und Mahón, Sharpless (MADAMA BUTTERFLY) in New York und München, Don Giovanni in Lüttich und Belcore in Wien und New York.


In performances like


Il viaggio a Reims - Finale
Video – 14:13 min.

Ritornell und Parade der Nationen (Finale - Il viaggio a Reims)

Gioacchino Rossini: Il viaggio a Reims
Video – 02:09 min.

Gioacchino Rossini: Il viaggio a Reims

Highlight: „Medaglie incomparabili“ [Il viaggio a Reims]
Video – 04:26 min.

„Medaglie incomparabili“ (Il viaggio a Reims)

Die Hochzeit des Figaro
Video – 01:56 min.

Wolfgang Amadeus Mozart: Le Nozze di Figaro


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Advents-Verlosung: Das 2. Fensterchen

In today's Advent calendar window, we are giving away 3 DVDs of "Der Schatzgräber" - an opera in a prelude, four acts and a postlude by Franz Schreker. If you would like to win one of the three DVDs, please send an e-mail today with the subject "The 2nd window" to advent@deutscheoperberlin.de.

DER SCHATZGRÄBER (THE TREASURE HUNTER) by Franz Schreker was a triumph at its world premiere in Frankfurt in 1920 and went on to play 44 times at assorted venues over the next five years. It then fell victim to a shifting zeitgeist and slipped from opera-house programmes, with a National Socialist ban on performances sealing its demise. Even after 1945 the Schreker revival was a long time coming – and THE TREASURE HUNTER has not featured prominently in the renaissance.

As with the vast majority of Schreker’s libretti, the story of Els and Elis explores the relationship between fantasy and reality, between art and life. Soulmates in the sense that they are both at the mercy of the king’s disposition, Els and Elis set off in search of different treasures. Elis, the minstrel, uses his magic lute to locate a stash of jewels and do humanity a good turn. Els, an innkeeper’s daughter who has grown up motherless in a tough, male-chauvinist world, becomes a liar, cheat and murderess in pursuit of her goal, tasking her suitors to steal the queen’s jewels and then having them killed once they have returned with the haul of treasure. Yet even with the gold in their possession, the pair are not content, and so, true to form, Schreker turns his attention to the theme of yearning per se, which is the actual “treasure” that the composer is interested in, “a dream of happiness and redemption”. Elis and Els are caught up in a swirl of dreams, memories, premonitions, songs and music. Their stories take on a dreamlike quality in a world beset by greed, murder and emotional inconstancy. For Franz Schreker the path to redemption could only be via art. Composed during the turmoil of the First World War, the TREASURE HUNTER score amounts to Schreker’s personal confession of artistic faith, executed in florid strokes of late-Romantic musical colour.

Conductor Marc Albrecht; Staging Christof Loy; Set design Johannes Leiacker; Costume design Barbara Drosihn; With Tuomas Pursio, Doke Pauwels, Clemens Bieber, Michael Adams, Joel Allison, Michael Laurenz, Thomas Johannes Mayer, Seth Carico, Daniel Johansson, Gideon Poppe, Stephen Bronk, Elisabet Strid, Patrick Cook, Tyler Zimmerman a. o.; Chorus and Orchestra of the Deutsche Oper Berlin

Closing date: 2 December 2023, the winners will be informed by email on 4 December 2023. The DVDs will then be sent by post. Legal recourse is excluded.