Waltz Symphony
Concert
27. Nov 2025
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The Spanish tenor Pablo Cameselle is regarded as one of the outstanding advocates of the bel canto repertoire; his voice combines radiant lightness with stylistic precision. He began his career at the Teatro Colón in Buenos Aires, where, still a student, he made his debut in Bach’s St. Matthew Passion and Donizetti’s Rita. He continued his studies at the Vienna Conservatory and perfected his artistry at the renowned Accademia Rossiniana in Pesaro under Maestro Alberto Zedda.
With his portrayal of Lindoro in L’Italiana in Algeri, performing alongside Agnes Baltsa (Megaron Athens, Aalto Theater Essen, Spoleto Festival), he thrilled both audiences and critics: Der Standard praised him as “the high-note specialist Pablo Cameselle.” Further engagements led him to the Teatro San Carlo in Naples as Almaviva in Il barbiere di Siviglia with Simone Alaimo, and he appeared with Renato Bruson in Rossini’s Guillaume Tell at the Eva Marton Opera Festival in Miskolc as well as at the National Theatre in Warsaw. At the Rossini Festival in Wildbad, he participated in the CD recording of La gazza ladra, conducted by Maestro Zedda. His repertoire also includes central works by Donizetti and Bellini, such as L’elisir d’amore, Don Pasquale, and La Sonnambula, as well as Verdi’s La Traviata and Rigoletto. With Mozart’s Requiem he has performed, among others, with the Vienna Symphony Orchestra in the Golden Hall of the Musikverein.
His artistic horizon extends far beyond bel canto: in Baroque works such as Purcell’s The Fairy Queen or Handel’s Acis and Galatea (with Juan Francisco Gatell) he demonstrates stylistic finesse and an authentic historical sound. He is equally successful in contemporary works—for example in Milhaud’s Le Pauvre Matelot (Kammeroper Wien) and Shostakovich’s The Nose (Neue Oper Wien). He also convinces in operetta and zarzuela, including Pan y Toros (with Miquel Ortega) at the Opéra Lausanne and Die Fledermaus (with Max Cencic) at the Konzerthaus Vienna. Among his latest projects are Maria Callas – Masterclass at the Elbphilharmonie Hamburg with Andrea Eckert, as well as Anna Bolena at the Slovak National Theatre.
With his singing, Pablo Cameselle carries the bel canto tradition authentically into the present. His artistry captivates audiences and critics alike; his rare combination of emotional depth and stylistic precision has earned him international acclaim and established him as one of the most versatile lyrical tenors on today’s international concert and opera stage.
The Spanish tenor Pablo Cameselle is regarded as one of the outstanding advocates of the bel canto repertoire; his voice combines radiant lightness with stylistic precision. He began his career at the Teatro Colón in Buenos Aires, where, still a student, he made his debut in Bach’s St. Matthew Passion and Donizetti’s Rita. He continued his studies at the Vienna Conservatory and perfected his artistry at the renowned Accademia Rossiniana in Pesaro under Maestro Alberto Zedda.
With his portrayal of Lindoro in L’Italiana in Algeri, performing alongside Agnes Baltsa (Megaron Athens, Aalto Theater Essen, Spoleto Festival), he thrilled both audiences and critics: Der Standard praised him as “the high-note specialist Pablo Cameselle.” Further engagements led him to the Teatro San Carlo in Naples as Almaviva in Il barbiere di Siviglia with Simone Alaimo, and he appeared with Renato Bruson in Rossini’s Guillaume Tell at the Eva Marton Opera Festival in Miskolc as well as at the National Theatre in Warsaw. At the Rossini Festival in Wildbad, he participated in the CD recording of La gazza ladra, conducted by Maestro Zedda. His repertoire also includes central works by Donizetti and Bellini, such as L’elisir d’amore, Don Pasquale, and La Sonnambula, as well as Verdi’s La Traviata and Rigoletto. With Mozart’s Requiem he has performed, among others, with the Vienna Symphony Orchestra in the Golden Hall of the Musikverein.
His artistic horizon extends far beyond bel canto: in Baroque works such as Purcell’s The Fairy Queen or Handel’s Acis and Galatea (with Juan Francisco Gatell) he demonstrates stylistic finesse and an authentic historical sound. He is equally successful in contemporary works—for example in Milhaud’s Le Pauvre Matelot (Kammeroper Wien) and Shostakovich’s The Nose (Neue Oper Wien). He also convinces in operetta and zarzuela, including Pan y Toros (with Miquel Ortega) at the Opéra Lausanne and Die Fledermaus (with Max Cencic) at the Konzerthaus Vienna. Among his latest projects are Maria Callas – Masterclass at the Elbphilharmonie Hamburg with Andrea Eckert, as well as Anna Bolena at the Slovak National Theatre.
With his singing, Pablo Cameselle carries the bel canto tradition authentically into the present. His artistry captivates audiences and critics alike; his rare combination of emotional depth and stylistic precision has earned him international acclaim and established him as one of the most versatile lyrical tenors on today’s international concert and opera stage.
