Pene Pati
Tenor

“A New Zealander who boasts a lithe and radiant tone, deep theatrical instincts and plenty of charisma” (San Francisco Chronicle)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Biography

Samoan-born Aucklander, Pene Pati, enjoyed great competition success in 2015 taking second place and the Audience Prize at Placido Domingo’s Operalia as well as Second Prize in that year’s Neue Stimmen Competition. Other recent awards and prizes include first place at the Montserrat Caballé International Aria Competition in 2014 and the prestigious Joan Sutherland and Richard Bonygne ‘Bel Canto’ Award in 2012.

A graduate of San Francisco Opera’s Merola Summer Program, Pati joined their Adler program last season and sings Verdi’s Duca (Rigoletto), Messenger (Aïda) and both Count Lerma and Royal Herald (Don Carlo) all under the baton of Nicola Luisotti, and appears in the world premeire of Bright Sheng’s Dream of the Red Chamber.

Samoan-born Aucklander, Pene Pati, enjoyed great competition success in 2015 taking second place and the Audience Prize at Placido Domingo’s Operalia as well as Second Prize in that year’s Neue Stimmen Competition. Other recent awards and prizes include first place at the Montserrat Caballé International Aria Competition in 2014 and the prestigious Joan Sutherland and Richard Bonygne ‘Bel Canto’ Award in 2012.

A graduate of San Francisco Opera’s Merola Summer Program, Pati joined their Adler program last season and sings Verdi’s Duca (Rigoletto), Messenger (Aïda) and both Count Lerma and Royal Herald (Don Carlo) all under the baton of Nicola Luisotti, and appears in the world premeire of Bright Sheng’s Dream of the Red Chamber.

Pati has completed a Masters Degree in Advanced Vocal Technique at the Wales International Academy of Voice under Dennis O’Neill with whom he continues to work, alongside César Ulloa.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Reviews

“It seemed luxury casting to have the rising New Zealand tenor Pene Pati as the messenger.” (Opera Magazine, February 2017)

“Pati in a sumptuous, broad-beamed account of Verdi’s “Quando le sere al placido” from Luisa Miller.” (San Francisco Chronicle, December 2016)

“Tenor Pene Pati was an unusually vivid and powerful Messenger” (San Francisco Classical Voice, November 2016)

“It seemed luxury casting to have the rising New Zealand tenor Pene Pati as the messenger.” (Opera Magazine, February 2017)

“Pati in a sumptuous, broad-beamed account of Verdi’s “Quando le sere al placido” from Luisa Miller.” (San Francisco Chronicle, December 2016)

“Tenor Pene Pati was an unusually vivid and powerful Messenger” (San Francisco Classical Voice, November 2016)

“runner-up was the New Zealander Pene Pati; in ‘Tomba degli avi miei’ from Lucia di Lammermoor his tone floated beautifully, and he has thrust and passion to spare at the top” (Opera Magazine, September 2015)

“By far the most talented and promising singer was the Samoan-born Aucklander tenor Darren Pene Pati, who sang Tombe degli avi miei…[he] had a wonderful Italianate sound and superb vocal control harnessed to subtle phrasing [and] could effortless fill the Royal Opera House.” (Seen & Heard, July 2015)

“New Zealander Darren Pene Pati was the one with the special tenor voice. Unsurprisingly, he took the audience prize for male singer.” (Financial Times, July 2015)

“Unspoken but unignorable is the pressure for young opera singers to own the stage and inhabit a character. Hence the golden-voiced New Zealand tenor Darren Pene Pati won the audience prize with Donizetti’s Tombe degli avi miei” (The Times, July 2015)

“First up was Pene Pati, a New Zealander who boasts a lithe and radiant tone, deep theatrical instincts and plenty of charisma…In the final scene from Donizetti’s Lucia di Lammermoor, he gave a full-throated, suavely phrased performance, replete with ardour and elegance and driving to a thrilling, perfectly placed high note.” (San Francisco Chronicle)

“You will know him for years to come, and thrill to his voice of golden trumpet just as the crowded house in San Francisco did tonight…Pati took the final note [in the final scene of Lucia di Lammermoor], with an open-throated, flawless, powerful high D…and held it pure and solid, not a show-off, just a peak moment, which seemed to go on for minutes.” (San Francisco Examiner)