" Paulo Szot sings with a power that sweeps you off your feet " - The New York Times - (Stephen Holden)
Paulo Szot is one of the most acclaimed and versatile baritones in the world having garnered international acclaim as an opera singer, an award winning musical theatre star, a consummate concert performer and an actor.
Paulo Szot was born in São Paulo and raised in Ribeirão Pires, Brazil. He began his musical training at the age of five, first studying piano and later adding violin and dance. Szot studied at the Jagiellonian University in Poland, the country from which his parents had emigrated following World War II. He began singing professionally in 1989 with the Polish National Song and Dance Company Slask, and in 1997 he made his operatic debut as Figaro in Il Barbiere di Siviglia in a production of the Theatro Municipal de São Paulo, directed by Enzo Dara and conducted by Luiz Fernando Malheiro.
"When he delivers 'Some Enchanted Evening' it's not as a swoon-making blockbuster (though of course it is), but as a measured and honest consideration of love." ... South Pacific - The New York Times (Ben Brantley)
In 2008, Szot was cast as Emile De Becque in the Broadway revival of South Pacific at Lincoln Center Theatre, directed by Bartlett Sher. He was awarded the Tony Award, Drama Desk, Outer Critic’s Circle and Theater World Awards for his portrayal, becoming one of a few actors to receive such honors on a Broadway debut.
"Paulo Szot brings to the role a commanding presence, a sense of solitude and a burnished tone that almost stops the show in This Nearly Was Mine". - South Pacific - The Guardian (Michael Billington)
Szot appeared in a solo concert in the Allen Room at Jazz at Lincoln Center as part of the American Songbook Series, and several times at New York City’s prestigious Café Carlyle and 54 Below for a series of critically acclaimed solo performances.
In concert, he appeared with the New York Philharmonic alongside Liza Minnelli conducted by Marvin Hamlisch, and made his Carnegie Hall debut with the New York Pops Orchestra in a program of Lerner and Loewe with Kelli O'Hara. He performed in a solo recital at Teatro Real de Madrid as a salute to Frank Sinatra’s & Antonio C. Jobim.
He returned in 2013 to the New York Philharmonic for a solo concert “An Evening with Paulo Szot” conducted by Ted Sperling and for the 2016/17 New Year’s Eve Gala with Joyce DiDonato conducted by Alan Gilbert.
With more than 70 opera productions in his résumé since 1997, Szot had his Metropolitan Opera debut in 2010 as Kovalyov in The Nose by Dimitri Shostakovich, conducted by Valery Gergiev and directed by William Kentridge. He returned to the Met for the six following seasons as Escamillo in Carmen (2011), Lescaut in Manon (2012), Kovalyov in The Nose (2013), Dr. Falke in Die Fledermaus (2013/14), The Captain in John Adams’ The Death of Klinghoffer (2014), Dr. Falke in Die Fledermaus (2015/16).
At the Teatro Alla Scala, made his debut in 2013 in the main role of Prof. F. Filippovich in the opera A Dog’s Heart by Aleksander Raskatov, directed by Simon McBurney. At the Opera National de Paris, Szot had his debut in 2012 as Guglielmo in Cosi fan Tutte.
Other favorite opera performances have included the title role in Don Giovanni at the Dallas Opera, Washington National Opera, Bordeaux, Toulon, Sao Paulo, Manaus, Bogotá; Count Almaviva in Le Nozze di Figaro at the New York City Opera, Antwerpen Opera, Aix-en-Provence Festival,Boston, Sao Paulo and Bahrain; the title role in Eugene Onegin at the Opera de Marseille and Opera Australia; Escamillo in Carmen at the Bayerische Staatsoper, San Francisco Opera, NYCO, Palm Beach Opera, TMSP, TMRJ: Dr Falke in Die Fledermaus at the Metropolitan Opera, Sharpless in Madama Butterfly at Opera Municipal de Marseille; Lescaut in Manon at the Festival Amazonas, Teatro Alfa with Rosana Lamosa and at Metropolitan Opera with Anna Netrebko; Don Alfonso in the newest production of Cosi fan Tutte at the Opera National de Paris, conducted by Philippe Jordan and directed by Anne Teresa De Keersmaeker.
THEATER DOORS open for seating approximately 30 minutes before showtime.
CONCESSIONS AVAILABLE at this performance: beer, wine, soda, snacks
***Typically at BPAC events, the theatre doors open for seating no earlier than 30 minutes before the performance. There is no need to arrive extraordinarily early. Know that if you choose to arrive prior to lobby doors opening, there is no place to sit and wait for the lobby to open other than the outdoor benches in Evelyn's Courtyard.
All children under 13 must be seated with an adult at this performance. Children under 5 will not be permitted into the theater. Everyone attending the performance, regardless of age, must have a ticket. Any person disrupting a performance or inhibiting the enjoyment of an event for guests may be removed from the theater without refund.