Page 173 - GTMF 2024 Season Program
P. 173

August 16 & 17
               ARTIST BIOGRAPHIES









































               Raymond Aceto                                     Aceto made his debut with San Francisco Opera as

               Bass/Sarastro                                     Monterone in Rigoletto and later returned as Banquo
                                                                 in Macbeth, the King in Aïda and Timur in Turandot.
                                                                 He regularly appears with Houston Grand Opera,
               American bass Raymond Aceto has established       including performances as Scarpia in Tosca, Seneca
               an important presence among the world’s leading   in L’incoronazione di Poppea, Sparafucile in Rigoletto,
               opera companies and symphony orchestras. His      Raimondo in Lucia di Lammermoor, Fiesco in Simon
               performances continue to gather both popular and   Boccanegra, Pimen in Boris Godunov, Escamillo in
               critical acclaim.                                 Carmen, Sarastro in Die Zauberflöte, as well as Il
               Aceto is well-known at leading opera houses around   Commendatore in Don Giovanni.
               the world. He has appeared frequently with the    Aceto has appeared frequently with The Dallas
               Metropolitan Opera, most recently as Zaccaria in   Opera in roles including Leporello in Don Giovanni,
               Nabucco, the King in Aïda, Il Commendatore in     Basilio in Il barbiere di Siviglia, Raimondo in Lucia di
               Don Giovanni and Sparafucile in Rigoletto. His debut   Lammermoor, Monterone in Rigoletto, Colline in La
               with Lyric Opera of Chicago was as the High Priest   bohème, Fafner and Fasolt in Das Rheingold, Walter
               in Nabucco, and he has since appeared with that   in Luisa Miller and Sarastro in Die Zauberflöte. His
               company as Banquo in Macbeth, Basilio in Il barbiere   first performances of Rocco in Fidelio were with the
               di Siviglia, Fafner in Das Rheingold and Siegfried, the   Canadian Opera Company, and he returned there
               Old Hebrew in Samson et Dalila, Nourabad in Les   for the world premiere of Randolph Peters’ The
               pêcheurs de perles, Alaska Wolf Joe in Rise and Fall   Golden Ass and as Daland in Der fliegende Holländer.
               of the City of Mahagonny, Ramfis in Aïda, Comte des   He reprised the role of Sparafucile for his debuts
               Grieux in Massenet’s Manon and Varlaam in         with L’Opéra de Montréal and the Santa Fe Opera.
               Boris Godunov.
                                                                 www.raymondaceto.com



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