Gino Quilico

Gino Quilico

Birth : 1955-04-29, Flushing, New York City, New York, USA

History

Gino Quilico (born April 29, 1955) is a Canadian operatic baritone. Quilico was born in Flushing, New York City in 1955, the son of baritone Louis Quilico and pianist Lina Pizzolongo. He studied at the University of Toronto Opera School from 1976 to 1978, making his operatic debut as Mr. Gobineau in Giancarlo Menotti's The Medium. He performed with the Canadian Opera Company in 1977 and 1979. Quilico continued his studies at the Ecole d'art lyrique of the Paris Opera in 1979–80, then began an international career with performances at the Paris Opera, Covent Garden in London, La Scala in Milan, and the Bavarian State Opera in Munich. At the Metropolitan Opera he created the role of Figaro in The Ghosts of Versailles by John Corigliano in 1991. Quilico was appointed an Officer of the Order of Canada in 1992. In 1996, he received the Grammy Award for Best Opera Recording for his recording of Les Troyens by Hector Berlioz with the Montreal Symphony Orchestra. Source: Article "Gino Quilico" from Wikipedia in English, licensed under CC-BY-SA 3.0.

Profile

Gino Quilico

Movies

The Ghosts of Versailles
The Ghosts of Versailles
Figaro
What happened to Figaro and his friends after the events told in Rossini’s and Mozart’s operas? One possible sequel is told in John Corigliano’s “grand opera buffa” The Ghosts of Versailles—an uproariously funny and deeply moving work inspired by Beaumarchais’s third Figaro play, La Mère Coupable, and commissioned by the Met to celebrate its 100th anniversary. This telecast captures its world premiere run, conducted by James Levine. Håkan Hagegård is Beaumarchais, Figaro’s creator, who is deeply in love with Marie Antoinette (Teresa Stratas in a heart-searing performance) and determined to rewrite history and save her from the guillotine. A young Renée Fleming, at the beginning of her international career, sings the unfaithful Rosina. Gino Quilico is the wily Figaro who tries to take matters in his own hands, and Marilyn Horne stops the show as the exotic entertainer Samira.
Carmen
Carmen
Escamillo
Bizet's masterwork, Carmen, directed for stage by the Spanish actress Núria Espert.
Il Barbiere di Siviglia
Il Barbiere di Siviglia
Figaro, a barber
Live performance from Schwetzinger Festspiele, 1988. What sets this IL BARBIERE DI SIVIGLIA apart from all others available is its elegant realism. None of its visuals are the least bit cartoonish or blatantly designed for comedy. Dr. Bartolo’s house is a stark, stern-looking structure of plastered brick with a comfortable yet plain, white-curtained interior, while the costumes are highly realistic 18th century garb in subdued colors. Yet despite its fairly austere appearance the production is delightful, thanks to its performers and staging. The stage business is lively, witty and free of excessive slapstick, and every singer brings his or her character to life, all offering rich, vibrant characterizations that strike a perfect balance between comedy and humanity.
La Cenerentola
La Cenerentola
Dandini
Gioacchino Rossini's sparkling version of the Cinderella story comes live from the Salzburg Festival with Ann Murray and Francisco Araiza as Cinderella and the Prince. Director Michael Hampe envisions La Cenerentola less as a fairy tale and more as a gently satirical comment on the nature of society and the relationship between people. Conductor Riccardo Chailly's masterly display of the Rossini style is visually matched by the opulent and elegant set designs by Mauro Pagano. 162 minutes.
La Bohème
La Bohème
Marcello
The film tells the story of a love affair between a poor poet and an equally poor seamstress in 19th century Paris.
Puccini: La Bohème
Puccini: La Bohème
Marcello
La Boheme
La Boheme
Marcello
Giacomo Puccini's bittersweet opera of high-spirited bohemians and the doomed love between Rodolfo, the idealistic poet and Mimi, the consumptive flower-maker, is a beautifully balanced series of tableaux depicting the infectious joie de vivre of youth and the tragic waste of disease and separation. The legendary and incomparable partnership of Mirella Freni and Luciano Pavarotti as the two lovers has been captured in this special live recording from stage of the San Francisco Opera. Brian Large has adapted Francesca Zambello's production for video, further illuminating the fascinating interaction of Puccini's characters. Gino Quilico sings Marcello, the colorful and moody painter, whose tempestuous relationship with the flirtatious Musetta (sung by Sandra Pacetti), comically mirrors the more profound love of Rodolfo and Mimi. Nicolai Ghiaurov sings Colline.
La Favola d'Orfeo
La Favola d'Orfeo
Claude Goretta brings to life the age-old tale of Orpheus and Eurydice in a fresh adaptation of Monteverdi’s Orfeo. Monteverdi’s fabled opera Orfeo was long described as the first opera to have been written. Although modern scholarship has proven this to be untrue, the work remains one of the pillars of western music history, a musical creation which laid the foundations for much of what was to come. As musicologist Jack Westrup explains, Orfeo marked a major milestone not because it broke new ground, but because imagination had taken precedence over theory. While Monteverdi may not have been a revolutionary, his music represents the culmination of centuries of musical evolution, and shows him as the clear master of both polyphony and monody.