Born in San Sebastian in 1994, Juan Laboreria studied Choir Conducting in ESMuC (Barcelona) with Johan Duijck and the HMT Felix Mendelssohn Bartholdy (Leipzig) with Roland Börger. He subsequently obtained his Bachelor’s Degree in Singing at the Conservatori del Liceu (Barcelona) with Oriol Rosés and Musikene (San Sebastian) with Maite Arruabarrena. He has also taken lessons from teachers such as C. Álvarez, D. Baldwin, J. C. Charron, M. Devia, U. D’Orazio, P. Gay, E. Halfvarson, W. Kelley, H. Kordes, N. LaNasa, J. A. López, T. Madigan, J. Martín-Royo, D. Mason, C. Montané, M. Pikulski, F. Poyato, D. N. Ploumis, W. Rieger, J. J. Rodríguez, C. Santoro, J. Surinyac, M. Urbieta or A. Vogel.
He has performed as a soloist in stages such as the Palau de la Musica Catalana, the Kursaal Auditorium in San Sebastian, the Festival Palace of Cantabria, the Main Theatre of Burgos, the Romea Theatre in Murcia or the Zorrilla Theatre in Badalona.
His last operatic performances include his debuts of the roles of Cantor in A. Piazzolla’s María de Buenos Aires (Festival Palace of Cantabria), Il Conte d’Almaviva and Figaro in Le Nozze di Figaro (Lyric Opera Studio Weimar and Saluzzo Opera Academy) and Masetto in Don Giovanni (Kursaal Auditorium), as well as the recording of A. Luque’s Elena for the Tête à Tête Festival.
He has also sung the roles of Brundibar (Brunidbar), 2º Geharnischter Mann and 2º Priester (Die Zauberflöte), lo Zio Bonzo (Madama Butterfly) and Pallante (Agrippina).
In the field of chamber music, his performance of Mahler’s Kindertotenlieder with the Sinfonietta of Musikene and recitals offered at the 81st Musical Fortnight, at the Topic Auditorium in Tolosa and at the Club Hall of the Victoria Eugenia Theatre in San Sebastian are to be highlighted. In the past seasons he performed Schönberg’s Ode to Napoleon under the baton of Arturo Tamayo and was invited by Maciej Pikulski to take part in the Chamber Music Conference Week organised by the Frederic Chopin Music University of Warsaw.
He has also sung oratorio works such as W. A. Mozart’s Requiem, Messiah by G. F. Händel, G. Fauré’s Requiem, Cantata nº 140 by J. S. Bach, C. Saint-Saëns’ Oratorio de Noël or J. Rutter’s Mass of the Children.
His next performances include his debut in A. Thomas’s Hamlet (1er Fossoyeur) with Opera de Oviedo, Marullo in Verdi’s Rigoletto and Brahms’s Liebeslieder Walzer.
