TITUSZ TÓBISZ TENOR
A Professional Opera Singer
UPCOMING PRODUCTIONS 2018/2019
New productions and pro in the season 2018/2019
Titusz Tóbisz was born in Rimavská Sobota, Slovakia in a Hungarian family. Before he started to sing opera, he studied guitar and singing in Budapest. In 2001, he became a solo singer of the Slovak Army ensemble in Bratislava. At his 23 years, he commenced the study of opera and vocal performance in the Conservatory of Music in Košice under the supervision of Mr Juraj Šomorjai. During the study he performed in Thália theatre, where he was given principal roles in drama, musical and operetta.
In 2010, he started singing in the opera chorus in the State theatre of Košice and simultaneously he became a solo singer guest in the Opera of the National theatre in Miskolc. In 2012, he was awarded the prize „Voice of the year“ for his Jean Valjean in Les Misérables in Miskolc. He has been a soloist guest in the National theatre in Budapest since 2013 as Porcus in Honneger’s oratorio Joan of Arc at the Stake.
In 2014, he made his debut as a solo opera singer as Canio in Leoncavallo’s I Pagliacci and he became a soloist of the State theatre of Košice opera company. Since then, he has played principal roles and became a regular guest in opera houses in the Slovak republic, Czech Republic, Hungary and Poland. His most significant roles are Otello (Verdi: Otello), Samson (Camille Saint-Saëns: Samson et Dalila), Canio (Leoncavallo: I Pagliacci), Manrico (Verdi: Il Trovatore), Laca Klemeň (Janáček: Jenufa), Arindal (Wagner: Die Feen), Ismaele (Verdi: Nabucco), Edmondo (Puccini: Manon Lescaut), Populescu (Kálmán: Grófka Marica), Duke of Urbino (J. Strauss: A Night in Venice).
During his career he was awarded an opera critics prize several times, e.g. for Canio and Arindal. In 2017, he was nominated for the famous Czech Thalia Awards as one of the three male opera singers for his Laca Klemeň in Jenufa. In 2018 he was awarded a “Harmónia” award as Soloist of the year in the category of classical music.
He became a regular guest of numerous European theatres, for example: the National Moravian-Silesian Theatre in Ostrava, Teatr Wielki in Poznan, F. X. Šalda theatre in Liberec, South Bohemian Theatre in České Budějovice, the National Theatre in Szeged, Miskolc and Budapest, and others. He is a frequent guest of summer festival Musicales de Louvergny in France. In 2018 he performed Laca in Jenufa (version coproducted by Théâtre Royal de la Monnaie and Teatro Comunale di Bologna) within the famous opera festival „Janáček Brno“ in Czech Republic.
Czech Thália awards expert jury
Titusz Tóbisz did not sing Laca on the Liberec's stage, he was Laca: not only by his dramatic vocal exhibition, but by whole his personality and sovereignly concerned acting performance. Janáček requires from the interprete of Laca many different exposures and moods, Laca is angry, but also sensual and dramatic. All these exposures and shapes were persuasively dominated by Titusz Tóbisz from both acting and singing point of view.
Pavel Unger, operaplus.cz
The opening night was a triumph of the tenorist Titusz Tóbisz, who in the last year or two made a huge progress in technical domination of his huge material. Tóbisz is at the moment the only real (not only) wagnerian heroic tenor (heldentenor) in Slovakia. His voice is voluminous, has a dark timbre and is fully extensive.
Jaroslav Tuček, divadelni-noviny.cz
Angry man, caught up by love desires, he sang excellently. He performed the best and the most memorable character. He kind of reminded me of Laca performed by brilliant Vilém Přibyl of the old times.
As I wrote above, The piece of Otello can be made part of a repertoire on in such theatre, which has an authentic representative of leading role. Titusz Tóbisz is definetely such authentic leader today. He is a unique and real dramatic tenorist within the slovak (czechoslovak) area with an extraordinary capacity of voice in terms of volume, register extensity, colour and expression. He can sing a high exposure until H2 without any problem, fill up the room with a massive medium voice register and impress us with a baritonal colour of low register. It would not be correct to ignore these basic conditions for the role (dominated by Tóbisz´s ideals such as Vinay, Vickers a Del Monaco) and to search for a minor stumbles in his opening night performance. Titusz Tóbisz still has some reserves to make better (and he sure knows about them), these however are related more to the intonation and rhytm. It is his second Otello after the production in Ostrava, and I have a sensation that with the next one he could get to a more significant international stages. His monologues from the third (Dio! Mi potevi scagliar) and fourth act (Niun mi tema) would stand up to competition wherever in the world. Moreover, Tóbisz did not temporize during the whole evening, he did sing from the very first to the last note over shoes over boots. We should not close our eyes, dramatic tenors (heldentenors) of Tóbisz´s conditions are object of search of theaters in the whole world.