News: Sep 20 2015
This fall, Nicolas Testé makes his debut at San Francisco Opera, as Raimondo in Donizetti’s Lucia di Lammermoor. He is joined by a spectacular cast, including Nadine Sierra in the title role, Piotr Beczała as Edgardo, and Brian Mulligan as Enrico. Music Director Nicola Luisotti leads the San Francisco Opera Orchestra and Chorus, in a new production directed by Michael Cavanagh and designed by Erhard Rom. Performances take place October 8, 11, 13, 16, 21, 24 & 28 at the historic War Memorial Opera House.
News: Aug 25 2015
This fall, Nicolas Testé sings the role of Arkel, King of Allemonde, in a concert presentation of Debussy’s spectacular opera Pelléas et Mélisande with the Orchestre Symphonique de Montréal. Performances take place September 8 & 9, and also feature Hélène Guilmette as Mélisande, Bernard Richter as Pelléas, and Philippe Sly as Golaud, with Kent Nagano leading the Orchestre and OSM Chorus. Ticket availability is extremely limited for these opening concerts of the OSM season.
Press: Sep 23 2015 | Lev Bratishenko | Montreal Gazette
"French bass-baritone Nicolas Testé was an excellent and tragic King Arkel. He rounded out a well-balanced cast in a hall that begs for more singing . . ."
Lev Bratishenko | Montreal Gazette
“French bass-baritone Nicolas Testé was an excellent and tragic King Arkel. He rounded out a well-balanced cast in a hall that begs for more singing . . .”
Claude Gingras | La Presse
“We welcomed the Frenchman Nicolas Testé, who brings to the character of the blind old Arkel, king of Allemonde and grandfather of half brothers and enemies Pelléas and Golaud, an authentic deep bass, admirable articulation of the text (an art almost lost today!) and a compelling presence . . .”
“Saluons ici le Français Nicolas Testé, qui apporte au personnage du vieillard aveugle Arkel, roi d’Allemonde et grand-père des demi-frères ennemis Pelléas et Golaud, une authentique basse profonde, une admirable articulation du texte (un art presque perdu aujourd’hui!) et une convaincante présence . . .”
Christophe Huss | Le Devoir
“In his first, steadfast entrance as Arkel, Nicolas Testé sounded like Caronte in Monteverdi’s L’Orfeo, and tries to instill some aspects of the contours of Melisande in Hélène Guilmette . . .”
” . . . qui modère Nicolas Testé dans la première intervention d’Arkel, qui sonnait comme Caronte dans L’Orfeo de Monteverdi, et qui tente d’inculquer à Hélène Guilmette quelques rudiments des contours de Mélisande . . .”