Fabián Veloz was born in Argentina. After studying music in his native city, he entered the Instituto Superior de Arte del Teatro Colón in Buenos Aires, where he trained under the guidance of Mº Lucia Boero in vocal technique and Bruno D'Astoli and Juan Pablo Scafidi in lyrical repertoire. He took part in the Voicexperience Program, under the direction of the famous Sherril Milnes.
He has sung under the baton of great conductors such as Stefano Ranzani, Renato Palumbo, Donato Renzetti, Jordi Bernàcer, Pinchas Steinberg, Evelino Pidó, Giovanni Di Stefano, Maurizio Agostini, Ira Levin, Carlos Vieu and Silvio Viegas, among others. He made his professional debut in the South American premiere of L. Bacalov's Estaba la madre at the Teatro Argentino de La Plata, followed by Figaro in Il barbiere di Siviglia at the Teatro Avenida in Buenos Aires, a role that attracted the attention of the specialised critics, who recognised him with the Premio estímulo in 2009 and Best Argentinean Singer in 2013 (Asociación de Críticos Musicales de la Argentina). Since then, he has positioned himself as one of the leading figures of his generation, performing the main roles of his string in titles such as Don Pasquale, Carmina Burana, Il Trovatore, Evgeni Onegin, La Traviata, Lucia di Lammermoor, Don Giovanni, Madama Butterfly, Rigoletto, Faust (Valentin), Tristan and Isolde (Kurwenal), Francesca da Rimini (Giovanni) and the 8th Symphony by G. Mahler (Pater Estaticus).
He made his debut at the Teatro Colón in Buenos Aires with I due foscari, where he later performed Simon Boccanegra (Paolo and Simón), La forza del destino, Otello (Iago), Le Nozze di Figaro (Count of Almaviva), Un ballo in maschera, Enescu's Oedipus and Falstaff (Mr. Ford), Pagliacci (Tonio), Don Carlo (Rodrigo), Tosca (Scarpia), Macbeth, La Traviata (G. Germont) and Andrea Chenier (C. Gerard).
In his European debut, he performed Nabucco in Split (Croatia) and in Trieste. Subsequently, he performed Macbeth, Pagliacci and Black the Clown at the Teatro de la Zarzuela; Rigoletto at Omaha Opera; I Puritani, Rigoletto and Lucia di Lammermoor at the Teatro Comunale di Modena; at the Teatro Reggio di Parma; at the Teatro Valli Reggio Emilia; at the Teatro di Piacenza and at the Teatro Regio di Torino. He also made his debut in Lucia di Lammermoor and Otello at the MET in New York; Cavalleria Rusticana and Pagliacci in Metz and Jesi; La Traviata and Falstaff in Naples; La Traviata in Atlanta. In 2019, he toured Rigoletto in Buenos Aires, San Pablo and Montevideo. In 2022, he made his debut at the Lyric Opera of Chicago in Tosca.
Date: May 2022 Not to be altered without permission. Please destroy all previous biographical material.
ANDREA CHÉNIER 06 November 2021, Teatro Municipal, Chile 08 November 2021, Teatro Municipal, Chile 09 November 2021, Teatro Municipal, Chile 10 November 2021, Teatro Municipal, Chile 11 November 2021, Teatro Municipal, Chile 12 November 2021, Teatro Municipal, Chile 13 November 2021, Teatro Municipal, Chile
LA FINTA GIARDINIERA 14 December 2021, Teatro Colón, Argentina 15 December 2021, Teatro Colón, Argentina 16 December 2021, Teatro Colón, Argentina 17 December 2021, Teatro Colón, Argentina 18 December 2021, Teatro Colón, Argentina 19 December 2021, Teatro Colón, Argentina
TOSCA 12 March 2022, Lyric Opera House, Chicago 15 March 2022, Lyric Opera House, Chicago 18 March 2022, Lyric Opera House, Chicago 23 March 2022, Lyric Opera House, Chicago 26 March 2022, Lyric Opera House, Chicago 03 April 2022, Lyric Opera House, Chicago 07 April 2022, Lyric Opera House, Chicago 10 April 2022, Lyric Opera House, Chicago
TOSCA 20 May 2022 20:30 Teatro El Círculo. Argentina 22 May 2022 19:00 Teatro El Círculo. Argentina 24 May 2022 20:30 Teatro El Círculo. Argentina
LA TRAVIATA 27 August 2022 Teatro Municipal de Santiago, Chile 30 August 2022 Teatro Municipal de Santiago, Chile 01 September 2022 Teatro Municipal de Santiago, Chile
Si può? Si può... . Il Prólogo I Pagliacci
Cortigiani, vil razza dannata. Rigoletto
RIGOLETTO. TEATRO COLÓN DE BUENOS AIRES. 2019
"Fabian Veloz is physically and vocally "monstrous" in the title role. He is a kind of stage Quasimodo, very much inspired by Triboulet in Hugo's Le Roi s'amuse, which inspired Verdi and librettist Piave for Rigoletto, the latter's adaptation, Fabian Veloz single-handedly structures the stage with his theatrical, baritonal vocal performance. His voice, warm yet supple and agile, proclaims with verve and delicacy his emotional wanderings and filial love. The dynamic quality of his phrasing (melody and text) contributes to the vitality of his character. The motif of the curse, the dialectic of Evil (as an accomplice of the infamous Duke) and Good (in the fusional relationship he maintains with his daughter Gilda), nourish his acting and singing: the tragic trajectory of the character, driven by a diabolical inner force, is applauded at the end of the performance". Sébastien Vacelet (Olyrix)
"Among the singers in the cast that premiered the production on Tuesday, Fabián Veloz, as Rigoletto, gave a remarkable performance. The Argentine baritone, one of the bets of a production that in times of exchange instability and budgetary constraints appealed to national talent, composed a character that knew how to move. Firm vocally and with the necessary scenic aplomb, Veloz solved with ease the parable of the cursed hunchback and in the end was the most applauded by the audience of the Gran Abono...". Santiago Giordano (Página 12)
"In the eponymous role, Fabián Veloz deployed a well-toned voice and a powerful volume to delineate a Rigoletto of quality." Gustavo Gabriel Otero (L'Ape Musicale)
"Within a solid cast, Fabián Veloz was the great figure of the evening in the role of Rigoletto. With a great stage presence and an impeccable vocal line, the baritone accompanied with the emission of his voice each of the demands of the demanding psychological arc of his character". Mabel Santos (Clarín)
LA BOHÉME. TEATRO COLÓN DE BUENOS AIRES. 2018
"Baritone Fabián Veloz sang and interpreted his character from beginning to end. He knew how to embolden it when necessary and moved from the joyfulness of the first acts to elaborate a man of great heart. His voice denotes an excellent singing line. Roberto Sebastián Cava (Opera World)