Javier Arrey
Baritone

“Arrey manages his altitudinous music with comfort and pizzazz” (Voix des arts)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Georgina Wheatley +44 (0)20 3725 9185

Biography

A graduate of Washington National Opera’s Domingo-Cafritz Young Artist program, Chilean baritone Javier Arrey makes his debut this season with the Wiener Staatsoper as Marcello (La bohème) and joins the roster of the Metropolitan Opera.

He made an acclaimed debut under Lorin Maazel as Iago (Otello) at the Castleton Festival and continued that association in summer 2014 in the title role of Don Giovanni. Other engagements in recent seasons include Marcello for Washington National Opera, Sharpless (Madama Butterfly) for the Teatro Municipal de Santiago, Don Giovanni for the Prague Summer Nights Festival, Alphonse (La favorite) with Washington Concert Opera under Antony Walker, and Masetto (Don Giovanni) with Baltimore Symphony Orchestra under Markus Stenz.

A graduate of Washington National Opera’s Domingo-Cafritz Young Artist program, Chilean baritone Javier Arrey makes his debut this season with the Wiener Staatsoper as Marcello (La bohème) and joins the roster of the Metropolitan Opera.

He made an acclaimed debut under Lorin Maazel as Iago (Otello) at the Castleton Festival and continued that association in summer 2014 in the title role of Don Giovanni. Other engagements in recent seasons include Marcello for Washington National Opera, Sharpless (Madama Butterfly) for the Teatro Municipal de Santiago, Don Giovanni for the Prague Summer Nights Festival, Alphonse (La favorite) with Washington Concert Opera under Antony Walker, and Masetto (Don Giovanni) with Baltimore Symphony Orchestra under Markus Stenz.

Javier features as Lescaut on the recording of Manon Lescaut on Decca Classics under the baton of Plácido Domingo, was a finalist at the 2009 Cardiff Singer of the World competition and was awarded the CulturArte prize at the 2011 Operalia competition.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Georgina Wheatley +44 (0)20 3725 9185

Reviews

“In this revival was Chilean baritone Javier Arrey, who comes from the Washington National Opera’s Domingo-Cafritz Young Artist Program, and was a finalist in the Cardiff Singer of the World Competition, among others. He sang Marcello with such ease and self-assurance, such a projected and distinctive tone, and acted with such emotion; it was impressive.” (Online Merker, November 2016)

“Baritone Javier Arrey as Oedipe sang with burnished tone and fine legato.” (The Opera Critic, May 2016)

“But once Alphonse, the king, and Léonor, his mistress (the “favorite” of the title), squared off in a duet, the evening began to strike sparks – thank to Javier Arrey, an ardent and warm baritone as Alphonse…time and again, it was Arrey who gave the warmth.” (Anne Midgette, Washington Post, March 2016)

“In this revival was Chilean baritone Javier Arrey, who comes from the Washington National Opera’s Domingo-Cafritz Young Artist Program, and was a finalist in the Cardiff Singer of the World Competition, among others. He sang Marcello with such ease and self-assurance, such a projected and distinctive tone, and acted with such emotion; it was impressive.” (Online Merker, November 2016)

“Baritone Javier Arrey as Oedipe sang with burnished tone and fine legato.” (The Opera Critic, May 2016)

“But once Alphonse, the king, and Léonor, his mistress (the “favorite” of the title), squared off in a duet, the evening began to strike sparks – thank to Javier Arrey, an ardent and warm baritone as Alphonse…time and again, it was Arrey who gave the warmth.” (Anne Midgette, Washington Post, March 2016)

“Donizetti’s King Alphonse (Alfonso) [was] powerfully sung by Javier Arrey…WCO was fortunate in its casting of baritone Javier Arrey as the stormy King Alfonso.” (Communities Digital News, March 2016)

“King Alphonse, sung here by the wonderful Javier Arrey…It is a perplexing voice: a true Italian-style baritone that is both wide, yet foused, penetrating as well as broad. The texture is both dense and gossamer, and the manner with which Mr Arrey navigated the role laid witness the singer’s variety of declamation as well as his deep understanding of Donizetti’s style…his rendition of his opening number “Leonor, viens!” with its carefully modulated phrasing and endless legato lines, as well as the complete domination of the cabaletta’s high tessitura, virtually stopped the show.” (New Outpost, March 2016)

“The first part was a wonderful moment, thanks to the tremendous performance of the baritone soloist, Chilean Javier Arrey… remarkably expressive force, attacking with precision, and his experience on the operatic stage was clear from how he inflected every word with its own colour…The audience burst into long and more-than deserved ovations for Javier Arrey.” (Visiones Criticas, July 2015)

“Javier Arrey was a great Sharpless, vocally excellent and a great actor” (Visiones Criticas, July 2015)

“the baritone Javier Arrey, who in May received critical acclaim when he sang Mahler’s Lieder eines fahrenden Gesellen at the Teatro Municipal Santiago, was much warmer and endearing than his international counterpart as Sharpless. With his attractive timbre and accuracy, he once again demonstrated the talent that is taking him on an increasingly international career with the support of artists like Placido Domingo and the late Lorin Maazel.” (BioBioChile, June 2015)

“Javier Arrey, with his attractive, lyric baritone, offered a noble Sharpless and found the perfect balance between prudence and severity as the consul.” (Economía y Negocio, June 2015)

“The high tessitura of Lescaut’s music is established immediately, the second note after his entrance…being a top F. Arrey manages his altitudinous music with comfort and pizzazz…[he] responds to every rise in dramatic temperature…with clean, colourful singing.” (Voix des arts, October 2014)

“Arrey’s ability to change expressive character [as Don Giovanni] within a phrase or single note was most memorable.” (Ionarts.com, July 2014)

“Iago was stunningly sung and acted by Javier Arrey [who] manages to give shape to the jealous demon within Otello” (Lorin Maazel, July 2013)

“Javier Arrey’s Iago menaced and connived but did so subtly and with a voice so lovely to listen to that his scheming seemed all the more threatening.” (Washington Post, July 2013)

“Baritone Javier Arrey was superbly lyrical in his moving rendition of his solo (I Pagliacci).” (Seen and Heard, February 2012)

“Javier Arrey treated the hapless role of the doomed suitor, Prince Yamadori, with a skillful balance of high seriousness and puckish humour.” (The Washington Times, February 2011)

Discography