Marco Nisticò, Baritone

Italian born baritone Marco Nisticò’s impressive combination of beautiful tone, exquisite artistry, and superior stagecraft has delighted audiences throughout North America, South America, and Europe. Praised as a performer of “gravitas, unforced eloquence, and refined vocalism” by The Classical Review, Marco Nisticò has become a widely sought-after singing actor for both comedic and dramatic roles. His 2017-2018 season included Germont in La Traviata with both Sarasota Opera and the Savannah VOICE Festival, Ping in Turandot with San Diego Opera, and Ford in Falstaff with Opera Colorado. Projects for the 2018-2019 season include directing Tosca for Opera Southwest and a return to Opera Sarasota as Gaspar in Donizetti’s Rita and Count Gil in Wolf-Ferrari’s Il segreto di Susanna.

Recent performance highlights include his return to the roster of the Metropolitan Opera for the premiere of Nico Muhly’s Two Boys, El Tiempo in Los Elementos with New York City Opera, Malatesta in Don Pasquale with Florida Grand Opera, Dulcamara in L’elisir d’amore and Dancaïro in Carmen with Teatro dell’ Opera in Rome, Dr. Bartolo in Il barbiere di Siviglia and Tonio in Pagliacci with Opera Memphis, Amonasro in Aïda with Opera Colorado, Figaro in Il barbiere di Siviglia, Don Pasquale, and Manfredo in L’amore di tre re with Sarasota Opera, Montfort in Verdi’s Les vêpres siciliennes in a return to the Caramoor Festival, his return to Sarasota Opera to sing the title role of Rigoletto and Sharpless in Madama Butterfly and to Opera New Jersey to sing Di Luna in Il trovatore; returning to the roster of the Metropolitan Opera for Carmen and La traviata; Dulcamara in L’elisir d’amore in a return to New York City Opera, Germont in La traviata with Opera de Puerto Rico, and Figaro in Il barbiere di Siviglia with Opera New Jersey. Recent European engagements include Dulcamara with Landestheater Bregenz and Guglielmo in Così fan tutte with Teatro Regio Torino.

Updated November 2018

A performer of gravitas, unforced eloquence, and refined vocalism
— The Classical Review