In April 2010, Antonio Figueroa made his Pacific Opera Victoria debut as Ferrando in Mozart's Così fan tutte. He returns in 2016 as Count Almaviva in Rossini's The Barber of Seville.
Appreciated for his deep musicality, Antonio recently completed a worldwide tour as Tamino in Peter Brook's A Magic Flute, culminating with performances at New York's Lincoln Center.
His 2015/16 season has included Tamino (Die Zauberflöte) for Hawaii Opera Theatre; Renaud in Armide in Vienna and Paris, conducted by Christophe Rousset, and the role of Paris in La belle Hélène for Opéra de Tours. Upcoming are a return to Opera Lafayette for scenes from Sacchini's Oedipe à Colone and Martini's Sapho in Washington and New York.
His recording of Les femmes vengées has just been released on the Naxos label.
Antonio has won a number of awards and prizes, including the Silverman prize for his interpretation of Belmonte (Die Entführung aus dem Serail) at the International Vocal Art Institute in Tel-Aviv. Other rôles have included Fenton (Falstaff) in Montreal, Ferdinand in Thomas Adès’s The Tempest at Festival Opéra de Québec and Pâris (La Belle Hélène) at the Théâtre du Capitole, Toulouse.
In concert he has appeared with Les Violons du Roy (Charpentier), the Montreal Symphony (Messiaen), the Oratorio Society of New York (Bach’s Mass in B minor), and the San Antonio Symphony (Messiah).
Born in Montreal, Antonio completed a Master's Degree at Montréal University.
Tenor Antonio Figueroa's tone is admirably fluent, and he made an attractive and artistically resourceful Ferrando,
Bernard Jacobson, Musicweb International, Review of Così fan tutte at Pacific Opera Victoria, 2010
Pâris [is] embodied here by the Quebecois tenor Antonio Figueroa, who has the right physique and elegance. He also has no difficulty with the acute tessitura that's required of him, with a timbre that has the charm required by the "proud seducer," plus diction to make one shiver with delight . A great Pâris, more prince than shepherd.
Pâris [est} incarné ici par le ténor québecois Antonio Figueroa, qui en possède le physique et l’élégance. Il n’éprouve par ailleurs aucune difficulté dans la tessiture aiguë qui lui incombe, avec un timbre qui a bien le charme requis par le "fier séducteur", en plus d’une diction à faire frissonner de plaisir. Un grand Pâris, plus prince que berger…
Emmanuel Andrieu, Opéra Online, Review of La Belle Hélène, 2015