Born in Úbeda (Jaén). Graduate in Music in the specialty of Singing in Málaga, being his teacher Alicia Molina. He extends his education during two courses at the School of Music Reina Sofía in Madrid, working with teachers as Manuel Cid and Tom Krause. He has received master classes from Teresa Berganza, Reri Grist and Carlos Chausson. At the moment he is improving his technique with Juan Lomba.
Winner of the IX of the singing competition “Nuevas voces” in Seville in 2011, finalist at the XI Singing competition Acisclo Fernández Carriedo, finalist of the III Singing Contest Villa de Colmenar and Special Mention in the Young Artists’ Exhibition in Málaga.
He has sung as soloist at the Teatro Real, Teatro de la Zarzuela, Auditorio Nacional (Madrid), Gran Teatre del Liceu (Barcelona), Teatro de la Maestranza (Seville), Palacio Euskalduna (Bilbao), Campoamor (Oviedo), Palau de les Arts (Valencia), Pérez Galdós (Las Palmas), Teatro Cervantes (Málaga), Teatro Villamarta (Jerez), Palacio de Festivales (Santander), Mezquita-Catedral (Córdoba), Museo del Prado, among others. He has also sung at Sala Toscanini of Teatro alla Scala (Milan), Teatro São Carlos (Lisbon), Chicago, Kansas City (First International Festival of Latin American and Spanish Music), Instituto Cervantes (Berlin), Chicago, Kansas City (I Festival Internacional de Música Española y Latinoamericana), Instituto Cervantes de Berlín, Festival Terras sem sombra, Music and Dance Festival in Úbeda, Festival de Otoño Ciudad de Jaén, Málaga’s Antique Music Festival and he has been granted a scholarship by the Sociedad de Artistas Intérpretes o Ejecutantes de España (AIE) to perform concerts throughout Spain.
His most notable opera performances include The Telephone, or L'Amour à trois (Ben) and Der König Kandaules at Teatro de la Maestranza; La Traviata (Germont) at Teatro São Carlos. He has also performed roles such us Malatesta (Don Pasquale), Enrico (Lucia di Lammermoor), Eneas (Dido and Aeneas), Conde (Le nozze di Figaro), and Papageno (Die Zauberflöte), among others. He frequently performs at the Teatro de la Zarzuela in Madrid, where obtained great success in El Juramento, La verbena de la Paloma, and recently in Marina.
In the oratory field he has sung as soloist: Bach’s Cantata No. 82, Faure’s Requiem, Charpentier’s Messe de Minuit and Leçons de Ténèbres, Haydn’s Mass Nelson, Mozart’s Requiem and Coronation Mass, Campra’s Requiem, Puccini’s Messa di Gloria, Rossini’s Petite Messe Solennelle and Händel’s Messiah. He has also performed some concerts playing the Lied cycle Die Schöne Müllerin and Die Winterreise by Schubert with the pianist David Aijón.
He has been under the baton of conductors such as: Michel Plasson, Antoni Ros Marbá, Ives Abel, Jean Ives Ossonce, Carlos Miguel Prieto, Massimo Zanetti, David Afkham, Patrick Fournillier, Kei Lynn Wilson, Arturo Díez, Miguel Ángel Gómez Martínez, Lorenzo Ramos, Cristóbal Soler, Alejo Pérez, Pedro Halffter, Renato Palumbo, Giampaolo Bisanti, Manuel Coves, or Ramón Tebar; and stage directors such as: Emilio Sagi, José Carlos Plaza, Willy Decker, Calixto Bieito, Paco Azorín, Francisco López, Tomás Muñoz, Mario Pontiggia o Pier Luigi Pizzi.
Recently, it is worth noting his performances at Teatro Real de Madrid (Death in Venice, Romeo et Juliette, La traviata, Bomarzo, Dead Man Walking), a concert New Orleans with the Louisiana Philharmonic Orchestra, several performances of La llama, which was recorded. He made his debut of Sharpless (Madama Butterfly) at Teatro del Liceo, as well as leading roles such as Rodrigo (Don Carlo), Figaro (Il barbiere di Siviglia), Rigoletto (Rigoletto) and Guglielmo (Così fan tutte) in Madrid, Bilbao, Oviedo y Málaga, respectively.
Among his latest performances we highlight, in particular, Samson et Dalila (High Priest) at Teatro de la Maestranza in Seville, Un ballo in maschera (Renato) at Teatro Calderón in Valladolid, his participation in the Teatro de la Zarzuela webseries Cantar en tiempos revueltos, a concert with the Filarmónica de Málaga, Fidelio (Pizarro) in concert version with the Sinfónica de Navarra, Madama Butterfly (Sharpless) with the Ópera de Oviedo, Benamor (Juan León) at Teatro de la Zarzuela, Don Fernando el Emplazado (Fernando IV) at Teatro Real and La Bohème (Marcello) at Gran Teatre del Liceu in Barcelona.
His engagements this season include Madama Butterfly at Teatro de la Maestranza and ABAO, La tabernera del puerto and The Magic Opal at Teatro de la Zarzuela, Massenet's Manon at Teatro Villamarta in Jerez and Atlántida in concert version at Palau de les Arts, among others.
Date: October 2021
Not to be altered without permission. Please destroy all previous biographical material.
Winner of the IX of the singing competition “Nuevas voces” in Seville in 2011, finalist at the XI Singing competition Acisclo Fernández Carriedo, finalist of the III Singing Contest Villa de Colmenar and Special Mention in the Young Artists’ Exhibition in Málaga.
He has sung as soloist at the Teatro Real, Teatro de la Zarzuela, Auditorio Nacional (Madrid), Gran Teatre del Liceu (Barcelona), Teatro de la Maestranza (Seville), Palacio Euskalduna (Bilbao), Campoamor (Oviedo), Palau de les Arts (Valencia), Pérez Galdós (Las Palmas), Teatro Cervantes (Málaga), Teatro Villamarta (Jerez), Palacio de Festivales (Santander), Mezquita-Catedral (Córdoba), Museo del Prado, among others. He has also sung at Sala Toscanini of Teatro alla Scala (Milan), Teatro São Carlos (Lisbon), Chicago, Kansas City (First International Festival of Latin American and Spanish Music), Instituto Cervantes (Berlin), Chicago, Kansas City (I Festival Internacional de Música Española y Latinoamericana), Instituto Cervantes de Berlín, Festival Terras sem sombra, Music and Dance Festival in Úbeda, Festival de Otoño Ciudad de Jaén, Málaga’s Antique Music Festival and he has been granted a scholarship by the Sociedad de Artistas Intérpretes o Ejecutantes de España (AIE) to perform concerts throughout Spain.
His most notable opera performances include The Telephone, or L'Amour à trois (Ben) and Der König Kandaules at Teatro de la Maestranza; La Traviata (Germont) at Teatro São Carlos. He has also performed roles such us Malatesta (Don Pasquale), Enrico (Lucia di Lammermoor), Eneas (Dido and Aeneas), Conde (Le nozze di Figaro), and Papageno (Die Zauberflöte), among others. He frequently performs at the Teatro de la Zarzuela in Madrid, where obtained great success in El Juramento, La verbena de la Paloma, and recently in Marina.
In the oratory field he has sung as soloist: Bach’s Cantata No. 82, Faure’s Requiem, Charpentier’s Messe de Minuit and Leçons de Ténèbres, Haydn’s Mass Nelson, Mozart’s Requiem and Coronation Mass, Campra’s Requiem, Puccini’s Messa di Gloria, Rossini’s Petite Messe Solennelle and Händel’s Messiah. He has also performed some concerts playing the Lied cycle Die Schöne Müllerin and Die Winterreise by Schubert with the pianist David Aijón.
He has been under the baton of conductors such as: Michel Plasson, Antoni Ros Marbá, Ives Abel, Jean Ives Ossonce, Carlos Miguel Prieto, Massimo Zanetti, David Afkham, Patrick Fournillier, Kei Lynn Wilson, Arturo Díez, Miguel Ángel Gómez Martínez, Lorenzo Ramos, Cristóbal Soler, Alejo Pérez, Pedro Halffter, Renato Palumbo, Giampaolo Bisanti, Manuel Coves, or Ramón Tebar; and stage directors such as: Emilio Sagi, José Carlos Plaza, Willy Decker, Calixto Bieito, Paco Azorín, Francisco López, Tomás Muñoz, Mario Pontiggia o Pier Luigi Pizzi.
Recently, it is worth noting his performances at Teatro Real de Madrid (Death in Venice, Romeo et Juliette, La traviata, Bomarzo, Dead Man Walking), a concert New Orleans with the Louisiana Philharmonic Orchestra, several performances of La llama, which was recorded. He made his debut of Sharpless (Madama Butterfly) at Teatro del Liceo, as well as leading roles such as Rodrigo (Don Carlo), Figaro (Il barbiere di Siviglia), Rigoletto (Rigoletto) and Guglielmo (Così fan tutte) in Madrid, Bilbao, Oviedo y Málaga, respectively.
Among his latest performances we highlight, in particular, Samson et Dalila (High Priest) at Teatro de la Maestranza in Seville, Un ballo in maschera (Renato) at Teatro Calderón in Valladolid, his participation in the Teatro de la Zarzuela webseries Cantar en tiempos revueltos, a concert with the Filarmónica de Málaga, Fidelio (Pizarro) in concert version with the Sinfónica de Navarra, Madama Butterfly (Sharpless) with the Ópera de Oviedo, Benamor (Juan León) at Teatro de la Zarzuela, Don Fernando el Emplazado (Fernando IV) at Teatro Real and La Bohème (Marcello) at Gran Teatre del Liceu in Barcelona.
His engagements this season include Madama Butterfly at Teatro de la Maestranza and ABAO, La tabernera del puerto and The Magic Opal at Teatro de la Zarzuela, Massenet's Manon at Teatro Villamarta in Jerez and Atlántida in concert version at Palau de les Arts, among others.
Date: October 2021
Not to be altered without permission. Please destroy all previous biographical material.
2021-2022 Performances
MADAMA BUTTERFLY
03 October 2021 20:00 Teatro de la Maestranza, Seville
06 October 2021 20:00 Teatro de la Maestranza, Seville
09 October 2021 20:00 Teatro de la Maestranza, Seville
LA TABERNERA DEL PUERTO
19 November 2021 20:00 Teatro de la Zarzuela, Madrid
21 November 2021 18:00 Teatro de la Zarzuela, Madrid
25 November 2021 20:00 Teatro de la Zarzuela, Madrid
27 November 2021 20:00 Teatro de la Zarzuela, Madrid
MANON
28 January 2022 18:00 Teatro Villamarta, Jerez
30 January 2022 18:00 Teatro Villamarta, Jerez
ATLÁNTIDA DE MANUEL DE FALLA
03 February 2022 20:00 Palau de les Arts Reina Sofía
04 February 2022 19:30 Palau de les Arts Reina Sofía
THE MAGIC OPAL
01 April 2022 20:00 Teatro de la Zarzuela, Madrid
03 April 2022 18:00 Teatro de la Zarzuela, Madrid
06 April 2022 20:00 Teatro de la Zarzuela, Madrid
08 April 2022 20:00 Teatro de la Zarzuela, Madrid
10 April 2022 18:00 Teatro de la Zarzuela, Madrid
MADAMA BUTTERFLY
21 May 2022 19:00 Palacio Euskalduna, Bilbao
24 May 2022 19:30 Palacio Euskalduna, Bilbao
27 May 2022 19:30 Palacio Euskalduna, Bilbao
28 May 2022 19:00 Palacio Euskalduna, Bilbao
30 May 2022 19:30 Palacio Euskalduna, Bilbao
MARÍA MOLINER
16 June 2022 20:00 Teatro Campoamor
18 June 2022 20:00 Teatro Campoamor
03 October 2021 20:00 Teatro de la Maestranza, Seville
06 October 2021 20:00 Teatro de la Maestranza, Seville
09 October 2021 20:00 Teatro de la Maestranza, Seville
LA TABERNERA DEL PUERTO
19 November 2021 20:00 Teatro de la Zarzuela, Madrid
21 November 2021 18:00 Teatro de la Zarzuela, Madrid
25 November 2021 20:00 Teatro de la Zarzuela, Madrid
27 November 2021 20:00 Teatro de la Zarzuela, Madrid
MANON
28 January 2022 18:00 Teatro Villamarta, Jerez
30 January 2022 18:00 Teatro Villamarta, Jerez
ATLÁNTIDA DE MANUEL DE FALLA
03 February 2022 20:00 Palau de les Arts Reina Sofía
04 February 2022 19:30 Palau de les Arts Reina Sofía
THE MAGIC OPAL
01 April 2022 20:00 Teatro de la Zarzuela, Madrid
03 April 2022 18:00 Teatro de la Zarzuela, Madrid
06 April 2022 20:00 Teatro de la Zarzuela, Madrid
08 April 2022 20:00 Teatro de la Zarzuela, Madrid
10 April 2022 18:00 Teatro de la Zarzuela, Madrid
MADAMA BUTTERFLY
21 May 2022 19:00 Palacio Euskalduna, Bilbao
24 May 2022 19:30 Palacio Euskalduna, Bilbao
27 May 2022 19:30 Palacio Euskalduna, Bilbao
28 May 2022 19:00 Palacio Euskalduna, Bilbao
30 May 2022 19:30 Palacio Euskalduna, Bilbao
MARÍA MOLINER
16 June 2022 20:00 Teatro Campoamor
18 June 2022 20:00 Teatro Campoamor
Gallery
Multimedia
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Benamor
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Don Fernando el Emplazado
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Reviews
MANON. TEATRO VILLAMARTA. 2022
"Of the rest of the cast, the good work of Damián del Castillo in the role of Lescaut is worthy of note. "Jesús Sánchez-Ferragut (Ópera Actual)
"Damián del Castillo's Lescaut, here characterised as a modern Groucho Marx (the music doesn't need such a funny underlining), is fine, with amplitude and rotundity, with the baritone voice very much in its place". Arturo Reverter (Scherzo)
"The baritones Damián del Castillo, solid and assertive (Lescaut) (...), are the other main names..." Arturo Reverter (EL Español)
"The Villamarta has managed in this production to complete a very good cast, with a Damián del Castillo, (...) of powerful voices and phrasing full of theatrical intentionality". Andrés Moreno Mengíbar (Beckmesser)
"As for the rest of the cast, we must value the high register in his tessitura of the baritone Damián del Castillo in the role of Lescaut, demonstrating an acting ability equal to his vocal quality". José Antonio Cantón (Codalario)
"Damián del Castillo's Lescaut, here characterised as a modern Groucho Marx (the music doesn't need such a funny underlining), is fine, with amplitude and rotundity, with the baritone voice very much in its place". Arturo Reverter (Scherzo)
"The baritones Damián del Castillo, solid and assertive (Lescaut) (...), are the other main names..." Arturo Reverter (EL Español)
"The Villamarta has managed in this production to complete a very good cast, with a Damián del Castillo, (...) of powerful voices and phrasing full of theatrical intentionality". Andrés Moreno Mengíbar (Beckmesser)
"As for the rest of the cast, we must value the high register in his tessitura of the baritone Damián del Castillo in the role of Lescaut, demonstrating an acting ability equal to his vocal quality". José Antonio Cantón (Codalario)
LA TABERNERA DEL PUERTO. TEATRO DE LA ZARZUELA. 2021
"Damián del Castillo's Juan de Eguía convinced by style and resolution". Alberto González Lapuente (ABC)
"Damián del Castillo rounded off with interpretative presence the role of Juan de Eguía manifesting suggestive timbre, musicality and vocal elegance." Isabel Imaz (Ópera Actual)
"[...] a very beautiful voice, always secure in his brilliant character. He sang excellently the habanera of the trio in the first act, he performed the famous romanza 'La mujer a los 15...' irreproachably, with the grace and ease it requires. And very dramatic, without exaggeration, but with due restraint, in the final romanza, so sad and with a very brief melodic structure." José Antonio Lacárcel (Opera World)
"[...]. Damián del Castillo, who exhibited well-turned phrasing as he demonstrated in the fabulous cantabile "Para vivir a la orilla..." of the great son (sic) Marola duet of the second act" Raúl Chamorro Mena (Codalario)
"Damián del Castillo rounded off with interpretative presence the role of Juan de Eguía manifesting suggestive timbre, musicality and vocal elegance." Isabel Imaz (Ópera Actual)
"[...] a very beautiful voice, always secure in his brilliant character. He sang excellently the habanera of the trio in the first act, he performed the famous romanza 'La mujer a los 15...' irreproachably, with the grace and ease it requires. And very dramatic, without exaggeration, but with due restraint, in the final romanza, so sad and with a very brief melodic structure." José Antonio Lacárcel (Opera World)
"[...]. Damián del Castillo, who exhibited well-turned phrasing as he demonstrated in the fabulous cantabile "Para vivir a la orilla..." of the great son (sic) Marola duet of the second act" Raúl Chamorro Mena (Codalario)
LA BOHÈME. GRAN TEATRO DEL LICEU. 2021
"El segundo Marcello, Damián del Castillo, causó una excelente impresión con una voz hermosa y bien proyectada que no tuvo problemas para atravesar el sonido de la orquesta". José M. Irurzun (Seen and heard international)
BENAMOR. TEATRO DE LA ZARZUELA. 2021
"The baritone Damián del Castillo's Juan de León well achieved, and his romanza "País del sol" deservedly applauded." Majo Pérez (Opera World)
"Damián del Castillo offered a fine portrayal of his character, Juan de León, with musicality and very good stage presence. "Isabel IMAZ (Ópera Actual)
"The star number of Maestro Luna's inspired score, apart from the magnificent orchestral page mentioned above - well paced by the baton - is the baritone romanza "País de sol", made popular at its premiere by Enrique Ramos and also sung by Emilio Sagi Barba or Marcos Redondo, a new Spanish song in the manner of "De España vengo" from El niño judío which here was defended with grace and dignity by the manly timbre of the baritone Damián del Castillo giving life to the caballero Juan de León, always dashing on stage, although he provided even more intention and refinement in the ensemble numbers, as in his duet with Darío from the last act "Ya que tanto me estimáis. " Germán García Tomás (MundoClasico.com).
"All the protagonists have their moment to shine: solo, duet or quintet. The baritone Damián del Castillo put in the boldness that Spanish song demands." Antonio Castro (madridiario)
"... as well as Damián del Castillo astonishes with his resounding presence." Jesús Blanco López (La Libertad Digital)
"Damián del Castillo offered a fine portrayal of his character, Juan de León, with musicality and very good stage presence. "Isabel IMAZ (Ópera Actual)
"The star number of Maestro Luna's inspired score, apart from the magnificent orchestral page mentioned above - well paced by the baton - is the baritone romanza "País de sol", made popular at its premiere by Enrique Ramos and also sung by Emilio Sagi Barba or Marcos Redondo, a new Spanish song in the manner of "De España vengo" from El niño judío which here was defended with grace and dignity by the manly timbre of the baritone Damián del Castillo giving life to the caballero Juan de León, always dashing on stage, although he provided even more intention and refinement in the ensemble numbers, as in his duet with Darío from the last act "Ya que tanto me estimáis. " Germán García Tomás (MundoClasico.com).
"All the protagonists have their moment to shine: solo, duet or quintet. The baritone Damián del Castillo put in the boldness that Spanish song demands." Antonio Castro (madridiario)
"... as well as Damián del Castillo astonishes with his resounding presence." Jesús Blanco López (La Libertad Digital)