Lisandro Abadie - Bass-baritone

Lisandro Abadie was born in Buenos Aires, Argentina, where he took his first singing lessons with Sergio Pelacani. Later in Switzerland he obtained his singing diplomas at the Schola Cantorum Basiliensis (with Evelyn Tubb) and Musikhochschule Luzern (with Peter Brechbühler). He was awarded the Edwin Fischer Gedenkpreis in 2006 and the Finalist Prize at the Handel Singing Competition in 2008.

He has sung under the direction of William Christie (Purcell: The Fairy Queen in Aix-en-Provence, Stefano Landi: Sant’Alessio, several tours with music by Lambert and Charpentier), Facundo Agudin (Mozart: Così fan tutte, Don Giovanni, Die Zauberflöte, Le nozze di Figaro, Mozart and Fauré’s Requiem, Puccini’s Mass), Laurence Cummings (BelshazzarTheodora, Messiah and Siroe), Christophe Rousset (Pergolesi: San Guglielmo), Hervé Niquet (Marais: Sémélé), Anthony Rooley (William Hayes: The Passions, on CD, Choc de Classica Award), Václav Luks (Bach: Matthäuspassion, Handel: La Resurrezione), Paul Agnew (Songs & Catches by Purcell, Monteverdi: Complete books of Madrigals), Douglas Bostock (Smetana: The Bartered Bride), and many others. 

In 2010 he created the title role of the opera Cachafaz by the contemporary French-Argentine composer Oscar Strasnoy in France (Quimper, Rennes, Paris Opéra Comique). 

He has collaborated with ensembles like Les Arts Florissants, Collegium 1704, the Orchestra of the Age of Enlightenment, Les Talens Lyriques, Le Poème Harmonique, Il Complesso Barocco, La Risonanza and others, and regularly performs with the pianist and composer Paul Suits. 

2013 marked his debut at the Opéra de Lausanne as Le Mage du Maghreb in Nino Rota's Aladin et la lampe merveilleuse. He sang Cachafaz again (Paris, Amiens, Vannes), Handel's Siroe in the International Handel Festival Göttingen with Laurence Cummings and toured with Collegium 1704 (Bach) and with Les Arts Florissants (Monteverdi with Paul Agnew, and Lambert‘s Airs de cour with William Christie). He also sang in Handel's Giulio Cesare in Moutier and Ullmann's Der Kaiser von Atlantis

In 2014 he sang in Handel's Riccardo Primo, staged by Benjamin Lazar at the International Handel Festival in Karlsruhe. Later in the year he performed Bach's Matthäuspassion in the Concertgebouw Amsterdam as well as the Johannespassion with the Liverpool Philharmonic Orchestra, he toured with Monteverdi's Seventh Book of Madrigals with Les Arts Florissants and performed the role of Argante in Handel's Rinaldo at the National Theatre in Prague.

In 2015 he performs again in Riccardo Primo in Karlsruhe, as well as in Handel's Orlando, and he tours with Les Arts Florissants, Capriccio Stravagante, Collegium 1704, Musique des Lumières, Le Concert Étranger and Il Giardino Armonico.

Highlights in 2016 were the Matthäuspassion tour with Andreas Spering, the Europe and US tour with Les Arts Florissants performing and recording Airs Sérieux et à Boire, concerts with Skip Sempé (Rameau's Funeral, Purcell Anthems); a new opera with Facundo Agudin: Romulus, composed by Andreas Pflüger; tours with Collegium 1704 and more cd recordings with several conductors and ensembles. In 2017 he sang in two new productions: Vivaldi's Arsilda, with Václav Luks (Bratislava, ), and Marais' Alcione, with Jordi Savall (Opéra Comique, Versailles). 

In 2018 he sings six different opera productions: Alcione (Caen), Lully's Phaëton (Perm-Versailles), Monteverdi's L'Orfeo (Luxeuil-les-Bains), Campra's L'Europe Galante (Potsdam-Prague), Rossini's La Cenerentola (TOBS) and Offenbach's Les Fées du Rhin (TOBS). He appears in the London Handel Festival with Laurence Cummings (Occasional Oratorio), on tour with the Matthew Passion with Zuidnederland Philharmonie and Matthew Halls, in Krakow with Jan Tomasz Adamus (Samson), with the Bachakademie Stuttgart and Hans-Christoph Rademann (Bach-Handel), in the Oude Muziek Festival with Skip Sempé (Gilles'Requiem) and in concert in Switzerland with Lena-Lisa Wüstendörfer, Facundo Agudin, Stefan Fuchs.

Photo © Pablo Kornfeld


Händel, Siroe, Internationale Händel Festspiele Göttingen
Although the role of King Cosroe is musically much smaller, the Argentinian bass Lisandro Abadie approached it as if he were a tragic figure of Shakespearean dimensions. Rightly so, since the character grows into a genuine King Lear figure with sons instead of daughters. For not only does Cosroe make the treacherous Medarse his heir, he finds a surrogate son in Emira as “Idaspe”. Abadie demonstrated brilliantly that a studious, dedicated approach to the role can make Stanislavski’s maxim about “no small parts” apply equally to opera. In doing so, he made a strong case for the essentially inter-textual nature of contemporary opera performance. The way Cosroe’s stern patriarchal facade gradually dissolves under the burden of age and loneliness and a desire to be loved was almost naturalistically portrayed through growing signs of both physical weakness and dementia. Naturally, the audience’s hearts went out to the king as Abadie folded an imaginary baby into a blanket while singing the above mentioned ‘Gelido in ogni vena’ with the utmost expressivity. 

Messiah, Théâtre des Champs Elysées, Paris
Seul de la distribution à ne pas être anglais, Lisandro Abadie tire bien son épingle du jeu, ...mettant en valeur une voix claire et longue, qui gagne en densité au fil du concert: après sa prestation dans le rôle-titre de Cachafaz de Strasnoy l’année dernière qui est restée dans toutes les mémoires, le baryton argentin confirme qu’il est un artiste polyvalent.
Simon Corley, ConcertoNet, December 2011

Stradella, Arie. CD with Harmonices Mundi, Claudio Astronio
Voci generose e ben addestrate all’agilita...come l’interessante rivelazione del basso Lisandro Abadie.
Carlo Vitali, Rivista Musica, February 2012

Theodora (Valens), Festival Verba et Voces, Cracow
Równie znakomicie wpisał się w swą rolę Argentyńczyk Lisandro Abadie (Valens) dysponujący potężnym i - jak na namiestnika rzymskiej prowincji przystało - budzącym respekt barytonem.
Tomasz Handzlik, Kraków Gazeta, 28.02.2011

Cachafaz, Oscar Strasnoy - Théâtre de Cornouaille

Il fallait, pour endosser les deux rôles principaux, des chanteurs qui soient aussi d'excellents comédiens. Lisandro Abadie et Marc Mauillon le sont assurément. Le premier impressionne par sa grandeur tragique...
Philippe Venturini, Les Echos, 10.11.2010

Grandes Scènes Lyriques, Lully - Théâtre des Champs Élysées

Lisandro Abadie, aux graves sombres, à la projection puissante est ungéant Polyphème terrifiant et un Roland égaré par la fureur des sentiments... La distribution de ce soir était quant à elle resplendissante. Isabelle Druet, Sébastien Droy et Lisandro Abadie ont mis en relief les affects de chacun de leurs personnages avec sensibilité et élégance. Engagés scéniquement,
ils font vivre avec passion ces héros... Leur phrasé, leur éloquence, leur souplesse, leur musicalité, nous font vivre intensément les tragédies qui se nouent...
Monique Parmentier, 27.05.2010

Belshazzar (Gobrias) Händel - London Handel Festival

The final role of Gobryas, advisor to Cyrus, was sung by Lisandro Abadie, who has impressed in previous London Handel Festival concerts. Abadie's firmly focussed, warm tones, enhanced the character's nobility.
Robert Hugill, http://www.dailyclassicalmusic.com/ 25.02.2010

La Resurrezione (Lucifero) Händel - Pražské Jaro
Mezi postavami příběhu je překvapivě i Lucifer, jehož part skěvlým způsobem zpíval mladý argentinský basbarytonista Lisandro Abadie, nesporný pěvecký favorit koncertu.
Petr Veber, Hospodářské Noviny 25.05.2009
One of the roles in the story is suprisingly Lucifero, whose part was sung excellently well by the young Argentinian bass-baritone Lisandro Abadie, undoubtedly the favourite singer of the concert.

Theodora (Valens) Händel - London Handel Festival
Of the men, the roles of Valens, the Roman President of Antioch, and Septimus, the Roman soldier friend of Didymus, are both ones which can outweigh their welcome if not performed with care. Valens really has only one thing to do: thunder, and Lisandro Abadie did this brilliantly. Abadie is a young singer from Buenos Aires who trained in Switzerland (with Evelyn Tubb amongst others). His way with Handel is brilliant and his English diction is exemplary. He has an attractive, quite grainy baritone voice, but one which has an evenness of delivery and degree of focus which make it ideal for this repertoire. He almost managed to make Valens an interesting character and I am keen to hear more of Abadie in a bigger Handelian role. (He is appearing in Rameau's Hippolyte et Aricie at Aix en Provence under William Christie.)
Robert Hughill, www.mvdaily.com, 02.2009

Lisandro Abadie (a finalist in the 2008 HSC) was a confident, appropriately arrogant Valens, his fine-grained baritone conveying just the right aura of military swagger.
Melanie Eskenazi, www.classicalsource.com, 02.2009

Acis and Galatea (Polypheme) Händel - Musikkollegium Winterthur
Und mit absoluter Meisterschaft verkörperte Lisandro Abädie mit einem herrlichen, in jeder Höhenlage vollkommen ausgeglichen Bass den dramatisch wie emotiv wohl weitest gespannten Part des Polyphem, dessen dämonische Dimension er zusätzlich imponierend zu gestalten vermochte.
Rita Wolfensberger, Der Landbote, 12.12.2008

Songs by Paul Suits (first performance)
On retrouve pour terminer M. Abadie dans une interprétation sidérante de trois poèmes sur la guerre civile américaine mis en musique par Paul Suits. Le regard sombre et la stature spartiate du chanteur renforcent l'impact de sa puissante voix qui nous narre l’inexorabilité de la guerre, les cauchemars de la mort et le deuil sinistre d'un fils perdu au combat. Le chanteur explore une large palette de timbres; la complexité de l'écriture de Suits ne néglige pas de rappeler de nombreux motifs qui confèrent à ses pièces une bonne lisibilité. Le piano parfois se tait pour laisser seule résonner la voix qui dit la mort avec une solennité émouvante.
Yvette Knoerle, Le Quotidien Jurassien, 20.05.2008

Final of the London Handel Singing Competition 2008
We shall certainly be hearing more in the Baroque field from the Argentine bass-baritone Lisandro Abadie.
Hillary Finch, The Times, 07.04.2008

Of the remaining three contestants, the virile well produced bass-baritone of Lisandro Abadie made one hungry to hear more of it in Handel – although relatively young still, his voice had a rich resonance with plenty of weight. He handled the passage work of Zoroastre’s Sorge infausta una procella (Orlando) with aplomb and in the cadenza resisted the temptation to go up, wisely opting for the low F sharp. A most pleasing low voice and one I’d certainly look forward to hearing again.
Sue Loder, Musicweb-International, 03.04.2008

La Contesa de’Numi (Giove) A.Caldara - Mezinárodní hudební festival Český Krumlov
Jednotlivé árie plné koloraturních kudrlinek zvládal nejlépe argentinský basista žijící ve Švýcarsku Lisandro Abadie jako Jupiter, bezkonkurenční hvězda inscenace, jejíž projev byl školou barokního zpěvu i herectví.
Vladimír Říha, Právo, 07.08.2007
The best one to master his arias full of dangerous curls and coloraturas was the Argentinian bass Lisandro Abadie, who lives in Switzerland, the unrivaled star of the production, whose performance was a lesson in baroque singing and acting.

Sémélé (Mercure) M.Marais - Opéra de Montpellier
Herausragend agiert und singt einzig das Buffopaar: Bénédicte Tauran als freche Hofdame Dorine mit ihrem kräftigen, höhensicheren Mezzosopran und ihr Verehrer Merkur, verkörpert von dem famos flexiblen Bassbariton Lisandro Abadie.
Eleonore Büning, Frankfurter Allgemeine Zeitung vom 06.02.2007

L’autre couple est formé de l’expressive Bénédicte Tauran (Dorine) et du baryton-basse argentin Lisandro Abadie (Mercure), très prometteur.
François Jestin, Scènes Magazine, mars 2007

The Passions (Anger) W.Hayes
Die Figuren des Spiels waren mit insgesamt ausgezeichneten, stilsicher singenden Solisten besetzt. […] Lisandro Abadie war ein Zorn mit Prachtvollem, schwarzem Bass.
Alfred Ziltener, Basellandschaftliche Zeitung, 20 juin 2005

Diploma Recital, KKL, Lucerne
Der Bassist Lisandro Abadie (in Arien von Händel) … zeigte nicht nur die Souveräntät, die man von Angehenden Solisten selbstverständlich erwartet, sondern auch die dazugehörige Lust an der Selbstdarstellung. Ganz ohne Mätzchen tat dies der argentinische Sänger. Namentlich in der dramatisch bewegten Arie « Revenge, Timotheus cries » bewies er die grosse Affinität seiner Stimme für das barocke Repertoire : mit schlankem, klar geführtem und agilem Bass…
Neue Luzerner Zeitung, Luzern, 27.05.2005

Die Zauberflöte (Sarastro) Mozart
Des voix périlleuses qui ont traversé l’épreuve du chant avec une assurance remarquable : […] Sarastro très posé dans son rôle de sage…
Yves-André Donzé, Le Quotidien Jurassien, 28 juin 2005