Highlights for the current season include performances in the title role of Giulio Cesare for both Opéra national de Paris under Emmanuelle Haïm and in Michael Keegan Dolan’s new production for English National Opera under Christian Curnyn. He makes his company debut at Opernhaus Zürich as Goffredo (Rinaldo) under Ivor Bolton and returns to Karlsruhe Handelfestspiele to reprise the title role in Handel’s Alessandro. In concert Lawrence Zazzo appears with the Orchestra of the Age of Enlightenment under Robert Howarth and with the Singapore Symphony Orchestra under John Nelson (Messiah), he makes his concert debut with the L'Orchestre de Chambre de Genève performing Mozart concert arias with David Greilsammer, and tours with kammerorchesterbasel under Paul Goodwin performing Acis and Galatea at Théâtre des Champs-Élysées and Theater an der Wien.
Recent roles have included Didymus (Theodora) with Le Concert Spirituel in Paris, Brussels and Vienna under Hervé Niquet, Ottone (Agrippina) under Federico Maria Sardelli at the Beaune Festival International d’Opera Baroque, and Oberon (A Midsummer Night’s Dream) marking his company debut with Teatro dell Opera di Roma in a new production by Paul Curran, conducted by James Conlon.
Lawrence Zazzo’s impressive discography includes Mozart’s first opera, Apollo et Hyacinthus, released on Linn Records in May 2012, Handel’s Alessandro released on Pan Classics in August 2012, and this season sees the release of Mozart concert arias with L'Orchestre de Chambre de Genève on Sony Classics.
"Lawrence Zazzo's Ottone, sung with beguiling tonal beauty, was a joy throughout." (Beaune Festival International D'Opera Baroque/Agrippina - Opera Magazine, November 2012)
"Lawrence Zazzo is one of those rare countertenor voices capable of vivid colouring and strong projection, and his singing of the title role is positively fruity in its richness." (The Telegraph, October 2012)
"Keegan-Dolan’s approach allows the singers to concentrate on delivering those fiendish arias. In particular the countertenor Lawrence Zazzo hurls out the title role with terrific swagger." (The Times, October 2012)
"If Andreas Scholl is the Rolls-Royce of countertenors, then Zazzo is the Maserati. Not that he races through everything he sings — though he can certainly accelerate when given the chance, and do some fancy turns. But he’s an open-top virtuoso of a singer with, as we used to say, a tiger in his tank. Match him with some of the earliest opera written by the teenage Mozart and you’re witnessing two miracles in one." (The Times, September 2011)
“Anna Bonitatibus's limpidly sung Sifare and Lawrence Zazzo's permanently infuriated Farnace were the vocal stars of the enterprise... This Mitridate was the festival's surprise hit and a perfect use of the Prinzregententheater for gourmet operatic pleasure.” (Mitridate, re di Ponte – Bayerische Staatsoper – Opera Magazine, October 2011)
“Zazzo and Noiri thrive in this madhouse of a recital, their respective instruments as well adapted to bringing out the subtleties and ambiguities inherent in a de la Mere, Auden or MacNeice poem as in the discords that infect the melodiousness of Dowland and Burgon alike. Lunarcy it may be, ‘though this be madness, yet there is method in’t.'" (International Record Review, September 2011)
"But the star "international" turns come from Lawrence Zazzo (Radamisto) and Christine Rice (Xenobia), dramatically and musically a really telling alliance of male and female altos. Rice's luscious aria with aching oboe obbligato "When will cruel fortune free my heart" was a highlight as were Zazzo's great laments. "Soul and Shadow" was soulful and searching, his opulent and beautiful countertenor at the service of heartfelt musicality. Very special." (The Independent, October 2010)
"Lawrence Zazzo sings the title role with such beauty, all the while acting like an Oscar winner, that he deserves to be known as the king of countertenors." (Financial Times, October 2010)
"Best of all was the American countertenor Lawrence Zazzo in the title role, which must originally have been written with a castrato in mind. In Handel's day, the castrati were the true stars of the opera – a stardom for which I suppose they considered their sacrifice worthwhile – but hearing the surgically unmodified Zazzo reaching the same notes in a powerful, clear and totally natural-sounding high voice is surely just as gripping as anything the 18th century could offer." (The Daily Express, October 2010)
Lawrence Zazzo and Klara Ek make Russian debuts
Zazzo, Christy and Bardon perform in English National Opera's Julius Caesar
Five HarrisonParrott artists appear at Münchner Opernfestspiele
Patricia Bardon, Lawrence Zazzo and Nathan Berg tour with Le Concert Spirituel
Barry Banks and Lawrence Zazzo appear in Mitridate with Bayerische Staatsoper
HarrisonParrott signs Lawrence Zazzo for general management