Described as “brilliant” by Opera News, tenor Matthew DiBattista has performed on both the operatic and concert stage with such conductors as James Conlon, Seiji Ozawa, Keith Lockhart, and Robert Shaw in the United States, Italy, France, and Portugal. He sings the title role in Kamran Ince’s Judgment of Midas, newly released on Albany Records. Mr. DiBattista’s engagements in the 2016-17 season include Normano in Lucia di Lammermoor with Lyric Opera of Chicago, Don Basilio in Le nozze di Figaro with Boston Lyric Opera, and soloist in Handel’s Ode for St. Cecelia’s Day with Masterworks Chorale. In the 2015-16 season, he returned to Lyric Opera of Chicago as Faninal’s Major-Domo in Der Rosenkavalier, Opera Theatre of Saint Louis as The Dancing Master in Ariadne auf Naxos, and he was soloist in Verdi’s Requiem with the Wichita Symphony Orchestra.
Matthew DiBattista’s 2014-15 season engagements included singing Camille Raquin in Picker’s Thérèse Raquin with Long Beach Opera, and for his Chicago Opera Theater debut. Other season engagements included Curley in Floyd’s Of Mice and Men with Tulsa Opera, Evans in Vaughan Williams’ Sir John in Love with Odyssey Opera of Boston, Britten’s War Requiem with the Dayton Philharmonic Orchestra, Moravec’s Blizzard Voices with Boston Modern Orchestra Project (recorded by BMOP/sound), and joining Lyric Opera of Chicago for its production of Capriccio. His 2013-14 season included his debuts with Tulsa Opera in the role of Eddie Fislinger in Elmer Gantry, Palm Beach Opera as the four tenors in Les contes d’Hoffmann, and a return to Opera Theatre of Saint Louis as Monostatos in Die Zauberflöte. He also joined the roster of Lyric Opera of Chicago for Madama Butterfly, made his debut with that company as Third Esquire in Parsifal, and was soloist in Vaughan Williams’ Serenade to Music and Beethoven’s Symphony No. 9 with the Wichita Symphony Orchestra.
In the 2012-13 season he sang as Steve Hubble in A Streetcar Named Desire with Virginia Opera, as Beppe in I Pagliacci and Tinka in Il tabarro in a return to Opera Theatre of Saint Louis, as soloist in Carmina Burana with the Wichita Symphony, as Jack in Tippett’s Midsummer Marriage with Boston Modern Orchestra Project, and as soloist with the Cape Cod Symphony Orchestra. His 2011-12 season included singing as Jasper Vanderbilt in the world premiere of Kirke Mechem’s The Rivals with Skylight Opera Theatre; as Beppe in I Pagliacci with New Orleans Opera; as Mouse/Dormouse/Cook/Invisible Man in the American premiere of Unsuk Chin’s Alice in Wonderland, in a return to Opera Theatre of Saint Louis; as David in excerpts from Die Meistersinger von Nurnberg with the Boston Symphony Orchestra; and as soloist in Mozart’s Requiem at Harvard University.
Recent highlights include joining the roster of the Metropolitan Opera for its production of Roméo et Juliette, singing the Valet Tenors in Les Contes d’Hoffmann with Florida Grand Opera, Flute in A Midsummer Night’s Dream with Boston Lyric Opera, Molqi in The Death of Klinghoffer with Opera Theatre of Saint Louis, and appearing as soloist in Handel’s Messiah with the Providence Singers. In summer 2011 he sang as Flavio in a concert performance of Norma with Boston Symphony Orchestra at Tanglewood Festival under Charles Dutoit.
Other highlights include the title role in The Good Soldier Schweik with Long Beach Opera; Coleman in the world premiere of Larry Bell’s Holy Ghosts at the Berklee Performance Center; soloist in Mendelssohn’s Elijah with the Assabet Valley Mastersingers; in Beethoven’s Symphony No. 9 with the Fresno Philharmonic Orchestra; the Valet Tenors in Les Contes d’Hoffmann and Bégearss in The Ghosts of Versailles, both with Opera Theatre of Saint Louis; Spoletta in Tosca and the Valet Tenors with Opera Colorado; Basilio in The Marriage of Figaro with Opera Theatre of Saint Louis; the Valet Tenors at Boston Lyric Opera; Yarzhkin in The Nose at Opera Boston; soloist in Britten’s Nocturne with the Milwaukee Chamber Orchestra; in Mozart’s Requiem with New Bedford Symphony; in Orff’s Carmina Burana with the Brookline Chorus; and Handel’s Messiah with the Worcester Chorus.
His successes on the operatic stage include his return to Opera Boston to sing Jack O’Brien in The Rise and Fall of the City of Mahagonny, after singing as Louis in the North American premiere of Eötvös’ Angels in America; Martin in The Tender Land with both Opera Omaha and Skylight Opera Theater and broadcast on PBS’ “Great Performances”; and the role of Wesley in Central Park at Glimmerglass Opera, also broadcast on PBS’ “Great Performances”. He has performed Ernesto in Don Pasquale, Rinuccio in Gianni Schicchi, and Ralph Rackstraw in H.M.S. Pinafore at Skylight Opera; Eisslinger in highlights from Die Meistersinger with Cincinnati May Festival; Nanki-Poo in The Mikado with both Mississippi Opera and Lyric Opera San Antonio; and Pedrillo in Die Entführung aus dem Serail, Curley in Of Mice and Men, Dr. Caius in Falstaff, and Andrew Johnson in The Mother of Us All with Glimmerglass Opera.
Equally in demand for concert engagements, Mr. DiBattista has appeared as soloist in Messiah with Charleston Symphony Orchestra, Concord Symphony Orchestra, and Boston’s Masterworks Chorale. He has performed Mozart’s Requiem and Samuel’s Hyacinth from Apollo with the 100 Days Festival in Lisbon, Portugal; Rachmaninoff’s Vespers with Cincinnati May Festival; Bach’s St. John Passion with Boston University Symphony; Schumann’s Mass and Requiem and Haydn’s Mass in Time of War with Masterworks Chorale; Rossini’s Petite Messe Solennelle and Orff’s Catulli Carmina with Bel Canto Chorus; and Bach’s Mass in B Minor, Bach’s Christmas Oratorio, Haydn’s The Creation, and Berlioz’ L’Enfance du Christ with Knox Music Series. He has also appeared at Tanglewood Music Festival as soloist in Shostakovich’s From Jewish Folk Poetry and Kurtag’s What is the word?, and with the Cincinnati Symphony Orchestra for its holiday concert series.