The Spanish tenor, began his career in Argentina; as a student, he debuted at the Teatro Colón with Bach's “St Matthew Passion” and Donizetti's “Rita”. His early success lead him to studies at the Vienna Conservatory, furthermore, he perfected his Rossini repertory at the Academia Rossiniana ROF with the famous Rossini-expert, maestro Alberto Zedda.
Recently leading Austrian press described him as “High notes specialist”, (Der Standard). Pablo Cameselle is internationally known for singing operas from the Belcanto era. His talent shines especially at Rossini operas because of his ease for higher vocal parts as well as his bright and clear voice. One of his most famous parts is singing the extremely difficult Lindoro part from “L'Italiana in Algeri”, together with Agnes Baltsa at the Megaron Mousikis in Athen/Greece as well as in Essen/Germany and Spoleto/Italy. He also sang together with Simone Alaimo at the Teatro San Carlo in Neapel/Italy in the most famous Rossini opera “Il Barbiere di Siviglia”, and proved the intense depth of his voice together with Renato Bruson in “Guillaume Tell” at Eva Marton’s opera festival in Miskolc/Hungary and at the National Theatre in Warsaw/Poland. He is also a part of the live recording of “La gazza ladra” (available as a compact disc) at the Rossini festival “Rossini in Wildbad”, Bad Wildbad/Germany.
A welcome change for the talented singer is singing arias from less well-known operas from Rossini, such as “Mosè/Mosè in Egitto” (which he mastered glamorously at the Tyrol festivals in Erl/Austria and in Sardinia/Italy). He payed his maestro homage by singing arias at the prestigious Rossini opera festival “Il Viaggio a Reims” in Pesaro/Italy and at the Teatro Marrucino in Chieti/Italy.
Pablo Cameselle also specialised in singing operas from Gaetano Donizetti. Donizetti’s operas are known for demanding subtle vocal techniques with bright and clear accords of sounds, such as “Ah, mes amis”. This opera, often called the “Mount Everest” for tenor because of featuring nine high C’s, was handled by the young tenor with ease as well as “La Fille du Régiment”, at the Opera Auditorio in Teneriffa/Spain. Currently, Cameselle is part of Donizetti’s “Don Pasquale” at the National Theatre in Beograd/Serbia (a part he also sang in Košice/Slovakia). His interpretation of Nemorino in “L'Elisir d'Amore” was also well acclaimed at the Teatro Coccia in Novara/Italy and Beograd/Serbia.
Mozart is another big part of Cameselle’s remarkable repertory. For example, he shined while playing a double role in “Le nozze di Figaro” at the Mozart festival in Hallstatt/Austria and “Mozart in Reinsberg“, Reinsberg/Germany. An important milestone in the career of the young tenor is the performance in “Don Giovanni”, together with the famous baritone Mariusz Kwiecien in Krakov/Poland. A masterly-achievement is Cameselle’s part in Handel‘s “Acis and Galatea” (re-edited by Mozart) which he appeared in four Italian theatres, in Pisa, Chieti, Livorno and Puccini‘s birth town Lucca. Lately he also sang in the Mozart Requiem at the golden hall of Vienna‘s Musikverein.
By expanding his tremendous oeuvre in the last years, Cameselle not only specialised in operas from the baroque, such as Purcell’s “The Fairy Queen” in Stettin/Poland or Handel‘s “Acis and Galatea” at Teatro Verdi in Pisa/Italy. Of course the genres like Zarzuela (“Pan y Toros” at Opera of Lausanne) or operetta (“Die Fledermaus” at Konzerthaus Wien) are also a part of the repertory of the well-known and highly active tenor.
Recently Pablo Cameselle triumphed in the title role in Darius Milhaud’s modern opera “Le Pauvre Matelot” at the Vienna Kammeroper. The tenor made his debuts as Elvino in Bellini‘s “La Sonnambula” and as Alfredo in “La Traviata” at the National Theatre Kosice. At that theatre he also worked in R. Strauss‘ “Ariadne auf Naxos” and Verdi‘s “Falstaff”. Another new successful debut is the role of Frick in Offenbach‘s operetta “La vie Parisienne” in Germany conducted by mtro. Caspar Richter.
Together with the Jerusalem Philharmonic Orchestra he sang as Ernesto in “Don Pasquale” and Almaviva in “Il Babriere di Siviglia” for concert versions in Tel Aviv, Israel. There he proved again to be an excellent Mozart-tenor as Ottavio in “Don Giovanni”, in Mozart‘s Requiem als also his Mass in c-Moll.
At the Opera Festival Tigre in Buenos Aires he performed in Purcell‘s “The Fairy Queen”. During the “Wiener Festwochen” festival Pablo Cameselle organised his first baroque-concert “Viva il Barocco” with exquisite and demanding tenor arias by Handel, Vivaldi, Mozart and Gluck. Right after that two more concerts followed for the first time in the South African capital Pretoria.
Pablo Cameselle celebrated together with Neue Oper Wien his debut in “The Nose” by Shostakovich at the Vienna Kammeroper for what he received numerous excellent reviews by the press (Der Standard: “High notes specialist Pablo Cameselle”).
This successful production together with Theater an der Wien was soon be repeated at international stages, like at the Budapest Festival at the Palace of Arts MüPa and at the Teatro Sociale in Trento, Italy. Again with great press reviews.
Most recently Pablo Cameselle triumphed in Rossini‘s “La Cenerentola” as Don Ramiro at the State Theater Varna and in title role of “Bastien und Bastienne”, an original historic production of Teatro Barocco, in Austria as well as in Mozart‘s Requiem together with the Wiener Symphoniker. |
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