Noted for his “highly appealing lyric voice,” tenor Emilio Pons’ brilliant international career spans more than 20 countries on three continents. Since his professional debut in at the Mariinsky Theater in Saint Petersburg, Russia, he has performed at theatres throughout Europe including the Grand Théâtre de Genève and Theater St Gallen in Switzerland; the Royal Opera House, Copenhagen, Denmark; the Vlaamse Opera, Ghent and Antwerp, Belgium; Grand Théâtre de Luxembourg; the Festival d’Aix-en-Provence and Opéra de Metz, in France; the Sankt Margarethen Opera Festival, the Salzburg State Theater and the WKO in Austria; Munich's Prinzregenten Theater, the Deutsche Oper am Rhein, Düsseldorf, the Magravial Opera House in Bayreuth, and the theaters of Augsburg, Bielefeld, Braunschweig, Coburg, Freiburg, Heidelberg, Magdeburg, Regensburg and Wuppertal in Germany; the Nordnorsk Opera, Norway; and Vilnius City Opera, Lithuania. Upcoming projects include debuts the Théâtre de Champs Elysées in Paris and the Concertgebouw in Amsterdam.
Emilio has also sung with Compañía Nacional de Ópera de Bellas Artes, Mexico City and at theaters throughout Central and South American including Teatro Julio Mayor in Bogota, Colombia, Teatro Municipal de Santiago, in Chile and Theatro Municipal of Rio de Janeiro, Brazil. His performances in Asia include Opera Siam in Bangkok, Thailand and the National Symphony Orchestra of Singapore.
Emilio’s operatic repertoire encompasses over thirty roles, including staples of the lyric Fach such as Tamino (DIE ZAUBERFLÖTE), Ferrando (COSÌ FAN TUTTE), Don Ottavio (DON GIOVANNI), Il Podestà (LA FINTA GIARDINIERA), Tom Rakewell (THE RAKE’S PROGRESS), Nemorino (L’ELISIR D’AMORE), Narraboth (SALOME), Conte d’Almaviva (IL BARBIERE DI SIVIGLIA), Lensky (EUGENE ONEGIN), Le Chevalier de la Force (DIALOGUES DES CARMÉLITES) and Trouffaldino (L’AMOUR DES TROIS ORANGES), as well as various leading roles in lesser-known works, including the title role in Porsile’s SPARTACO, Mad Woman in Britten’s CURLEW RIVER, Hypollit in Henze’s PHAEDRA, Richmond in Battistelli’s RICHARD III, Serge/Adolphe in Martin’s DIE DREI WÜNSCHE and Le Commissaire in Martin’s JULIETTE. He also sang Egeo and Sole in a production of Cavalli’s IL GIASONE which was commercially released on DVD, and Fernando in the German première of Granados’ GOYESCAS.
He has sung under the baton of many acclaimed conductors including Mikhail Jurowsky, Mac Albrecht, Daniele Callegari, Jiří Bělohlávek, Ingo Metzmacher, Enoch zu Guttenberg, Mirga Gražinytė-Tyla, Frédéric Chaslin, Zoltan Pesko, Niksa Bareza, Federico Maria Sardelli and Cornelius Meister, amongst others. He has worked with renowned stage directors such as Robert Carsen, Christof Loy, Guy Joosten, Richard Jones, Katie Mitchell, Pier Francesco Maestrini, Joan Anton Rechi, Arila Siegert, Jean-Louis Benôit, Mariame Clément and Benedikt von Peter.
On the concert and recital stage, he has performed recitals in Germany, France, Belgium, The Netherlands, Switzerland, Spain, Poland, Russia, Japan, Azerbaijan (with the London Philharmonic Orchestra) and Israel (with the Jerusalem Camerata and the Be'er Sheva Sinfonietta).
Emilio holds a graduate degree in Piano from the National Conservatory of Music in Mexico and a Juris Doctor degree from the Universidad Iberoamericana, in addition to Master and Doctor of Music Degrees in voice performance and literature from the Indiana University Jacobs School of Music. His doctoral field of specialization was Russian phonetics for the operatic stage. He is a member of the European Cultural Parliament, and co-founder and artistic director of the Sankt Goar International Music Festival and Academy.
A skilled polyglot, Emilio speaks English, Spanish, French, Italian, German and Russian, all fluently. He is a dual citizen of Germany and Mexico.
Artist website: www.emiliopons.com
Happily the musical side of the evening was considerably more rewarding. From the very first phrase, Emilio Pons as Narraboth revealed a robust lyric tenor that was beautifully deployed throughout his vocal appearance. This was an especially commanding interpretation from this wonderful artist and it should open doors to major houses. (OperaToday)
Sehr erfreulich im Spiel, wie auch in der Stimme, war Emilio Pons als schmachtender, in Salome verliebter Narraboth. (Ioco, Kultur im Netz)
Emilio Pons lässt als Narraboth schönes, gesundes Tenormaterial hören (Concerti)
Spartaco (Title role)
In the title role, young tenor Emlio Pons revealed a highly appealing lyric voice, good stylistic acumen, and meticulous passage work in the fierier outbursts. His pleasing instrument goes easily above the staff, and he acts affectingly with the voice without ever sacrificing sound technique. On the “short” side of “tall” he nevertheless commands the stage with an easy, natural presence. Even when he is asked to do un-natural or insulting things. Like stand on an upended beer case to raise him above the height of his female co-stars. Or like taking off his clothes for all of Act Two. (Opera Today)
Emilio Pons ließ als Lenski mit seinem außerordentlich veranlagten Tenor die seelische Erregung dieser Figur toll durchschwingen (Mannheinmer Morgen)
Il Podestà (La finta giardiniera)
Sonderlobe gehen an … Emilio Pons, dessen Podestá sich, vokal perfekt, im Spiel gnadenlos lächerclih macht. (Mitteldeutsche Zeitung).
Don Ottavio (Don Giovanni)
Emilio Pons singt den Don Ottavio mit zartestem italienischem Gold im Tenor (Der Westen, Kultur)
Tamino (Die Zauberflöte)
The production was characterised (...) by top Western singers like Emilio Pons as a powerful Tamino (The Nation, Bangkok)
Tamino (Die Zauberflöte)
Emilio Pons, noch von seiner Heidelberger Zeit her in bester Erinnerung, sang mit vorbildlich focussiertem, sonorem und viril geführtem Tenor einen insgesamt vorzüglichen Tamino. (Der Opernfreund)
Evangelist (Johannes-Passion) (Staged)
Herausragend Emilio Pons mit seinem beweglichen, höhensicheren und artikulationsklaren Evangelisten-Tenor.
Mad Woman (Curlew River)
Die anspruchsvolle Partie wird vom jungen mexikanischen Tenor Emilio Pons mit lyrischer Stimme und sensibler Darstellung überzeugend verkörpert. (Neue Zürcher Zeitung)