Tenor
Basque tenor Andeka Gorrotxategi has established an international career on the leading opera stages of Europe, Australia, Asia and the Americas, earning particular recognition for the power, warmth and distinctive dark colouring of his voice. His early success in international singing competitions, including the Jaume Aragall and Manuel Ausensi competitions, helped establish him as one of the most promising Spanish tenors of his generation.
A decisive moment in his career came in 2011 with his operatic debut as Pinkerton in Puccini's Madama Butterfly in Novara. The role rapidly became one of his signature parts and opened the doors to major international theatres. He subsequently appeared at the Teatro dell'Opera di Roma, Teatro Real Madrid, Teatro di San Carlo in Naples, Teatro La Fenice in Venice, Opéra de Lausanne, the Felsenreitschule in Salzburg, Semperoper Dresden, Opéra de Monte-Carlo, the Teatro Bellas Artes in Mexico City, the Sydney Opera House and the National Centre for the Performing Arts in Beijing, among many others.
His relationship with Australia and the Sydney Opera House has been an important chapter in his career. He performed Pinkerton there in Madama Butterfly and subsequently returned as Don José in Bizet's Carmen. His interpretation of Don José was praised for its dramatic intensity and ability to convey the character's increasingly desperate trajectory.
In Europe, Andeka has appeared in an extensive repertoire of major Italian and French tenor roles. His Puccini repertoire includes Cavaradossi in Tosca, Dick Johnson in La fanciulla del West, Calaf in Turandot, Pinkerton in Madama Butterfly, Rodolfo in La bohème and Des Grieux in Manon Lescaut. His Verdi roles include Manrico in Il trovatore, Carlo in I masnadieri, Foresto in Attila, Gabriele Adorno in Simon Boccanegra, Don Carlo and Otello, as well as Don Alvaro in La forza del destino. His repertoire also encompasses Don José in Carmen, Canio in Pagliacci and Samson in Saint-Saëns' Samson et Dalila.
A particularly important development in recent years has been Andeka's progression towards the heavier dramatic tenor repertoire. His performances of Otello at Staatsoper Hannover and Samson et Dalila at Kiel marked significant steps in this development, demonstrating the dramatic range of a voice increasingly suited to the great heroic tenor roles of the nineteenth and early twentieth centuries. Lately Andeka has also enjoyed a particularly strong connection with Puccini's Manon Lescaut (Des Grieux).
Andeka has collaborated with distinguished conductors such as Zubin Mehta, Roberto Abbado, Miguel Ángel Gómez Martínez, Jesús López Cobos, Stefano Ranzani, Daniele Callegari, Guillermo García Calvo, Renato Palumbo and Óliver Díaz.