Thomas Pasatieri

  • Thomas Pasatieri first received national acclaim in his early twenties. His operas and hundreds of songs have been performed by such prominent artists as Janet Baker, Elizabeth Söderström, Frederica von Stade, Shirley Verrett, Catherine Malfitano, Evelyn Lear, Thomas Stewart, and the late Jennie Tourel.

    Born in New York City, Pasatieri had a Juilliard scholarship in composition at the age of 16, studying with Vittorio Giannini and Vincent Persichetti. He received the first doctorate ever given by Juilliard. He also studied with Darius Milhaud at Aspen where, at 19, his chamber opera, The Women, won the Aspen Festival Prize. Other honors include the Richard Rodgers Scholarship, the Marion Freschl Prize, the Irving Berlin Fellowship, and an Emmy Award.

    His interest in native American voices has been seen in Pasatieri’s work with young singers. His concern with the operatic education of children led him to write The Goose Girl, a 35-minute opera for young audiences (for which he wrote his own libretto).

    For five years Pasatieri was the Artistic Director of the Atlanta Opera. At present he divides his time between composing, conducting and the presidency of his film production company, TOPAZ PRODUCTIONS.

  • Cover Title (Subtitle) Duration Instrumentation
    Opera – Full Length
    16727 Black Widow
    Opera in 3 acts.
    2:00:00 2 2 2 2 – 2 2 2 1; Timp. Perc. Hp. Str.
    17145 Frau Margot
    Opera in three acts.
    2:00:00 2 1 2 1 – 2 2 2 0; Perc. Pno. Hp. Str.
    17439 God Bless Us, Everyone!
    The Christmas Spirit
    1:18:00 1(dbl. Picc.) 1(dbl.E.H.) 1(dbl.B.Cl.) 1 – 1 1 1 0; Pno. Hp. Str.5tet(or section)
    17040 The Hotel Casablanca
    Opera in 2 acts, inspired by “A Flea in Her Ear” by Georges Feydeau.
    1:40:00 1 1 1 1 – 1 1 1 0; Perc. Pno. Hp. Str.7tet (or Str. Section)
    16736 Ines de Castro
    Opera in 3 acts.
    2:00:00 2 2 2 2 – 4 2 2 1; Timp. Perc. Hp. Str.
    16732 The Penitentes
    Opera in 3 acts.
    1:40:00 2 2 2 2 – 4 2 2 0; Timp. Perc. Pno. Hp. Str.
    16731 The Seagull
    Opera in 3 acts. (Revised 2004)
    2:00:00 Large Orchestration: 2 2 2 2 – 4 2 2 1; Timp. 2Perc. Hp. Str. (min. Orchestration: 2 2 2 1 – 2 1 1 0; 1Perc. Hp. Str. (min.
    16906 Three Sisters
    Opera in 2 acts.
    2 2 2(B.Cl.) 2(Cbsn.) – 4 0 2 0; 3Perc. Str.
    16733 Washington Square
    Opera in three acts and an epilogue.
    1:50:00 1(Picc.) 1(E.H.) 1(B.Cl.) 1(Cbsn.) – 1 1 1 0; Timp. Perc. Pno.(Cel.). Hp. Str.
    Opera – One Act
    21659 Before Breakfast
    Opera in 1 act.
    40:00 1 1 1(B.Cl.) 1 – 1 1 1 0; Pno.(Cel.) Str.(5tet or section)
    16734 Calvary
    33:00 1 1 1 1 – 1 0 0 0; Hp. Vln. Vla. Vcl.
    17457 The Family Room
    Opera in one act
    1:15:00 1 1 1 1 – 1 1 1 0; Pno. Hp. Str.5tet(or section)
    16735 La Divina
    Comic Opera in 1 act.
    30:00 2 2 2 2 – 1 1 0 0; Timp. Perc. Pno.(Cel.) Hp. Str.
    16737 Maria Elena
    Opera in 1 act.
    1:30:00 2 1 2 1 – 2 2 2 0; Timp. Perc. Hp. Str.
    16730 Padrevia
    Lyric tragedy in 1 act.
    52:00 1 1 1 1 – 1 1 1 0; Timp. Perc. Pno. Hp. Str. (1 1 2 2 1)
    16729 Signor Deluso
    Opera Buffa in one act.
    30:00 1 1 1 0 – 1 0 0 0; Pno. Vln. Vla. Vcl.
    16738 The Trial of Mary Lincoln
    Opera in 1 act.
    1:00:00 3 2 2(B.Cl.) 2(Cbsn.) – 2 1 1 0; Timp. Perc. Pno. Hp. Str.
    16726 The Women
    Chamber opera in 1 act.
    13:00 1 1 1 1 – 1 1 0 0; Timp. Perc. Pno. Hp. String Quartet (1 0 1 1 1)
    17486 Symphony No. 1
    20:00 3 3 3 2 – 4 3 3 0; Timp. 2 Perc. Hp. Str.
    21726 Symphony No. 2
    40:00 Sop., Children’s Ch.; 3 3 3 3 – 6 3 3 0; Timp. 3Perc. Pno. Hp. Str.
    21788 Symphony No. 3
    for Orchestra
    22:00 2 1 2 1 – 2 1 1 0; Str.
    23649 The Vaudevillian
    2:00:00 2 2 2 2 – 2 2 2(B.Tbn.) 0; Str.
    Orchestra with Soloist(s)
    16905 Alleluia
    for Medium Voice and Small Orchestra
    2:40 Solo Med.Vx.; 2 2 2 2 – 3 2 0 0; Timp.(dbl. Perc.) Hp. Str.
    23601 Concerto for Harpsichord
    30:00 Solo Hpsch; Fl. Ob. Str.4tet (or Str. Ensemble)
    21787 Concerto For Viola and Orchestra
    25:00 Solo Vla.; 2 1 2 1 – 2 1 1(B.Tbn.) 0;Str.
    21724 In the Light of Angels
    for Soprano, Mezzo-soprano, Children’s Chorus, and Orchestra
    27:00 Sop., Mezzo-sop., Ch. Chorus; 2 2(E.H.) 0 1 – 0 0 0 0; Str.
    14186 Permit Me Voyage
    for Soprano, Mixed Chorus and Orchestra
    16:00 2(Picc.) 2(E.H.) 2(B.Cl.) 2(Cbsn.) – 4 2 2 1; Timp. 2Perc. Hp. Str.
    14188 Sieben Lehmannlieder
    26:00 Solo Voice; 2 2 2 2 – 4 2 2 1; Timp. Perc. Hp. Str.
    Chamber Ensemble
    114-41032 Sonata
    For Flute and Piano
    114-41619 Theatrepieces
    For Bb Clarinet, Violin, And Piano
    14:00 Chamber Ensemble
    Voice and Chamber Ensemble
    16908 Far From Love
    for Soprano, Clarinet, Violin, Cello and Piano
    22:00 Solo Sop.; Cl. Vln. Vcl. Pno.
    16990 Letter to Warsaw
    for Soprano and Ensemble
    1:1030 Solo Sop.; 1(dbl. Alto Fl., Picc.) 1(dbl.E.H.) 1(dbl.B.Cl.) 0 – 1 1 0 0; Pno. Hp. 1Vln. 1Vla. 2Vcl. 1Cb.
    14187 Rites of Passage
    for Medium Voice and Chamber Orchestra or String Quartet
    11:00 2(Picc.) 2 2 2 – 2 1 1 1; Timp. Perc. Hp. Str.
    Voice and Piano
    111-40131 Alleluia
    For Voice and Piano
    111-40238 Album Leaves, Vol. 1
    Voice, Piano
    111-40241 Album Leaves, Vol. 2
    Voice, Piano
    111-40255 Album Leaves, Vol. 3
    20:00 Voice, Piano
    411-41122 Bel Canto Songs
    19:00 Voice with Piano
    111-40251 The Bride Of The Moor
    For Soprano And Piano
    19:00 Soprano, Piano
    411-41124 The Daughter Of Capulet
    15:00 Voice with Piano
    411-41123 Duets
    21:00 Vocal Duet
    411-41118 Lady Macbeth
    For Voice and Piano
    411-41108 Letter To Warsaw
    For Voice and Piano
    411-41136 The Martyrs
    1:30:00 Vocal Duet
    411-41106 A Rustling Of Angels
    12 Songs for Voice and Piano
    16909 Three Poems of James Agee
    for Mezzo-soprano and Piano
    8:00 Mezzo-soprano, Pno.
    111-40182 Three Poems Of Oscar Wilde
    For Baritone and Piano
    10:00 Baritone, Piano
    312-41620 Alleluia
    S.A.T.B. and Piano
    312-41707 Canticle Of Praise
    5:00 SATB
    312-41592 Three Mysteries
    For Chorus, S.A.T.B., A Cappella
    6:00 SATB

  • A bill of three one-act operas [Padrevia, Signor Deluso and The Women] by young Thomas Pasatieri… [was] featured [at] the Italian-American Bicentennial at Memorial Hall Monday… The three contrasting operas served to demonstrate Pasatieri’s skill both as c
    –Samuel L. Singer, Philadelphia Inquirer

    Opera is also about conveying drama through music, and…the fact that Pasatieri knows how to make points in music comes through loud and clear. … Opera Alterna’s double bill [of The Women and Signor Deluso] certainly showed that Pasatieri knows how to wr
    –Anne Midgette, The Washington Post

    If you’re not familiar with Pasatieri, this is a good place to start. He selects texts well and amplifies them effectively in these settings.
    –R. Moore, American Record Guide

    Pasatieri’s music sets both vivid memory (in carefree waltzes and desperate dance marathons) and the faded present with the faint clink of crockery and the fainter dripping of blood.
    –Opera Obsession blog

    Mr. Pasatieri is clearly the star of the show as his musical warmth caresses the singers and bathes the listener in a sea of contemporary ‘bel canto’ …this is a singer’s composer, indeed.
    –Peter Haley, Kite

    Black Widow is a powerful and compelling piece of total theatre…has a stark and austere beauty.
    –Max Wyman, Vancouver Sun

    Thomas Pasatieri’s Black Widow remains an unforgettably forceful opera on repeated hearings…This is a poignant, passionate opera with some splendid music…Pasatieri’s sense of orchestration can’t be complimented too highly…Few composers have so completely
    –Rolf Stromberg, Seattle Post Intelligencer

    He has a marked gift for vocal writing and an ease in handling the orchestra that marks the real pro…There are many isolated passages of great beauty and strength.
    –Paul Hume, The Washington Post

    Pasatieri shows skill in composing a vocal line that is at once lyrical and powerful…It is melodious and as smooth as cream.

    –Richard Campbell, Bremerton Sun

    The score spins out, loaded with wonderfully singable lines and clever ensembles.
    –Louise Kenngott, Milwaukee Journal

    …an exciting and absorbing work…this is strong dramatic stuff, but the young composer’s score – expressive, melodic, eminently singable – is up to it…The first-night audience shared this reviewer’s enthusiasm.
    –Frank J. Warnke, Opera News

    the music is capable of high drama as at the end of Act II and orchestrated with a good ear for instrumental adventure, with special felicity shown for woodwinds and percussion.
    –Maxine Cushing Gray, Argus

    The scoring for the music is lively [and] varied…Pasatieri combines the traditional and contemporary elements into the design of his opera.
    –William J. Bagley, Northgate Journal Seattle

    Pasatieri has won his gamble, taking the best of three falls (acts) from the difficult opponent embodied in Unamuno’s text…The beautifully written trio [in Act III]…is the musical climax of the opera, at just the right moment.
    –Irving Kolodin, Saturday Review

    The world premiere of Thomas Pasatieri’s Black Widow was a triumph for composer and cast. …Pasatieri is one of today’s remarkable composers. He has a special gift for vocal writing, using the human voice as a singing instrument in limits and design that a
    –Hilmar Grondahl, The Oregonian

    It is probably the greatest tribute to Pasatieri, as a composer for the theater, to say that he has made his lyrical music serve the drama and the singers at all times, something of a rarity in contemporary opera.

    –John Voorhees, Seattle Times

    …an intensely dramatic, richly lyrical work, in which music and drama are effectively integrated to create a compelling musical-theater experience… Black Widow is in English, and because of Pasatieri’s remarkable skill in writing for the human voice… most
    –Wayne Johnson, The Seattle Times

    Mr Pasatieri’s score powerfully conveys the sense of strain and struggle…In moments of poignancy, the scoring achieves a gentleness that is never cloying.
    –Richard D. Fletcher, The Christian Science Monitor

    The capacity audience in the Opera House stood and cheered last night when composer Thomas Pasatieri appeared on stage after the world premiere of his latest work Black Widow by the Seattle Opera. Well the audience should have. For it had seen what was pr
    –Rolf Stromberg, Seattle Post-Intelligencer

    Pasatieri is clearly an accomplished composer with a remarkable gift for writing a highly singable vocal line.
    –Wayne Johnson, Seattle Times

    …most moving and strongly dramatic…It is modern in idiom, but Pasatieri is always concerned about the human voice and writes carefully for it. Calvary is a fascinating opera, strongly structured with a fine feeling of lyric unity
    –Rolf Stromberg, Seattle Post-Intelligencer

    …a work of considerable power and beauty…Pasatieri has given this provocative and moving text sympathetic musical response…The score itself is quite sumptuous, even sensuous, and in its agitato moments is a lively participant in the tragic and ironic proc
    –Ann Holmes, Houston Chronicle

    It is the kind of experience that clearly energizes opera companies. …a contagious air or excitement surrounded the Frank Corsaro-directed, Joe Illick-conducted Pasatieri opera, with its engaged cast headed by the remarkable Lauren Flanigan in the title r
    –William Litter,

    Frau Margot: A world premiere worth the wait [headline] The story has lots of passion and drama, and the music is luxuriously appointed in a cinematic Anglo-American manner … Much about the opera is engaging, and the music is often beautiful, with some st
    –Scott Cantrell, Dallas Morning News

    …well-wrought, evocatively moody and aggressively consonant… It’s not hard to imagine that this piece will provide great enjoyment for opera lovers for years to come.
    –Joshua Rosenblum, Opera News

    Cinematic ‘Frau Margot’ is a Triumph for Composer, Fans” [headline] [Pasatieri and librettist Frank Corsaro] score on so many levels … Beautifully constructed leitmotifs connect the story…There is undeniable craft in Pasatieri’s composition, particularly
    –Matthew Erikson, Fort Worth Star-Telegram

    The plot is fascinating, the music accessible, the performances… first rate.
    –Charles Parsons, American Record Guide

    Pastieri’s return to opera impressive …the work has all the markings of a masterpiece… With amazing success, Pasatieri has captured all this in a score of a voluptuous splendor that suggests Klimt’s gilded paintings set to music. And this is what makes Fr
    –Wes Blomster,

    The work serves up two hours of efficient entertainment thanks to its superb source, tight plot, and crisply defined characters… The orchestral writing is highly active and brilliantly colorful…
    –John Bender, San Francisco Classical Voice

    Long, tonally-shifting, open-ended melodic lines weave in and out of the orchestral fabric, at times seething, at others soaring, continuously unfolding so as to keep both dramatic and simply gorgeous; the music largely teases the ear into wanting more. W
    –Walter Simmons, American Record Guide

    an absorbing work… The vocal writing in Frau Margot is gripping
    –Joshua Rosenblum, Opera News

    …tender lyricism, a lyricism that permeates every utterance.
    –Colin Clarke, Fanfare Magazine

    Pasatieri’s and Corsaro’s pacing of the drama is masterly.
    –Colin Clarke, Fanfare Magazine

    Corsaro and Pasatieri wisely decided to highlight the film noir implications of the overall work. Hence Pasatieri’s neo-Romantic language, which may be said to resemble generally the musical style associated with film noir, can be perceived as appropriate
    –Walter Simmons, Fanfare Magazine

    …the narrative aspect moves forward swiftly and continuously, riveting the audience’s attention throughout, to which I can attest, having attended the Fort Worth production myself. By the time it was over, I wouldn’t have minded a repeat performance right
    –Walter Simmons, Fanfare Magazine

    The music is lush and voluptuous.
    –Heidi Waleson, Wall Street Journal

    Frau Margot is an opera that could make you like opera [headline] …Thomas Pasatieri’s music was beautiful and Frank Corasro’s story had it all: unrequited love, murder, seances, madness and a touch of humor…What’s not to love? The audience seemed enchante

    …this one-act work has ample charms, including…an invitingly melodic score, with shapely vocal writing, lively choruses and trim, colorful orchestral writing that never gets in the way of the singing.
    –Allan Kozinn, New York Times

    …this one-act work has ample charms, including…an invitingly melodic score, with shapely vocal writing, lively choruses and trim, colorful orchestral writing that never gets in the way of the singing.
    –Allan Kozinn, New York Times

    It is colorfully orchestrated, with expressive instrumental solos.
    –Elliot W. Galkin, Baltimore Sun

    This is music of obvious beauty [and] immediate audience appeal.
    –Robert E. Benson, The News American

    [In] what it sets out to do -that is, act as a conveyor of the text and as an illustrator of the plot -it does strikingly.
    –Sam di Bonaventura, The Evening Sun, Baltimore

    …a skilful and versatile composer … more than an aria…less than an opera. It directs our attention to Lady Macbeth’s internal participation in the planning, execution, and aftermath of the murder which brings her and her husband first to power and then
    –Michael Miller, New York Arts

    This is just the kind of material that inspires [Lauren] Flanigan to the dramatic heights. And does she ever soar! …a carefully constructed score that supports the texts…quite a show!
    –Charles H. Parsons, Charles H. Parsons

    The idea was ingenious: to conflate all of Lady Macbeth’s major set pieces into a monodrama.
    Pasatieri’s setting exposed a perfect marriage between character and performer; it is difficult to imagine the resulting tour de force in better hands than [L

    –Joanne Sydney Lessner, Opera News

    Lady Macbeth was written for [Lauren] Flanigan, and her portrayal was intimate and dramatically intense. The audience…instantly connected to the character. Famous lines from Macbeth, like “Out, damned spot,” were made vivid by Pasatieri’s vocal melodie
    –Chris Shull, Fort Worth Star-Telegram

    The insinuating melodies of Lady Macbeth, sensual and almost jazzy, had me considering Shakespeare’s well-known words from a new angle.
    –Opera Obsession Blog

    “Lady Macbeth”, in its world premiere, made dramatic use of Lauren Flanigan’s big dynamic and expressive range. …an effective concoction.

    –Scott Cantrell, The Dallas Morning News

    The five movements, written in a through-composed declamatory style recalling Benjamin Britten, are heart-wrenching … a performance that grabbed the audience and never let it go.
    –Mary Ellyn Hutton, Music in Cincinnati

    …a brilliantly orchestrated musical picture that looks both inward and outward, inward in the songs, outward in the instrumental interludes. It’s music that is somber but not solemn, an elegy. The thirteen sections fit together easily, and at no point doe
    –Phillippa Kiraly, Seattle Post-Intelligencer

    Despite the anguished content of most of the poems, Pasatieri’s music is not dirgelike; some of the orchestral interludes between the songs are full of optimism and energy. The premiere was a roaring success with the audience…a major addition to the reper
    –Melinda Bargreen, Seattle Times

    Heartrending and intimate, the six poems are set as if in a one-act opera, with sweeping, romantic-style music for chamber orchestra, and orchestral interludes between the songs. The music perfectly suits the nostalgia, the homesickness and haunting fears
    –Melinda Bargreen, Seattle Times

    …one of his most appealing works…Particularly adept in writing for the clarinet in this piece, Pasatieri colored and shaped the tonal and musical line to give a personal meaning to the words…he made her [Emily Dickinson’s] poetry work as an extrovertedly
    –Speight Jenkins, NY Post

    …an uncommon flair for words… Pasatieri’s music in surprisingly expressionistic for one of his generation, and he handles his small forces with craft and skill. Every one of nineteen instruments is exploited to its utmost potential of characterization.
    –Ann M. Lingg, Opera News

    Thomas Pasatieri’s score takes the audience on an emotional rollercoaster, from romance and harmony to deception and dissonance. There is not one moment in the production at which music, text, and vocals aren’t all working towards the same goal. The colla
    –Rick Westerkamp,

    Pasatieri’s Rhapsody for Double Bass showed the contentious nature of the bass as a solo instrument. But the piece, which flowed lyrically across the instrument’s deep four octaves, should soon end up on recitals by student bassists everywhere.
    –Chris Shull, Fort Worth Star-Telegram

    Commissioned by the Music Academy of the West to commemorate the one hundredth anniversary of the birth of Lotte Lehmann, this beautiful cycle for soprano expresses the sensitive and expressive qualities that permeated… Lehmann’s singing… Set against twen
    –Alan Smith, American Music Teacher

    The clever comedy of errors was very much enhanced by Pasatieri’s beautifully constructed score, in which the ensemble passages, especially, were extraordinary impressive.
    –Norma McLain Stoop, After Dark

    Signor Deluso which he set to his own libretto, is a good example of Mr. Pasatieri’s facility and professionalism.
    –Donal Henahan, New York Times

    Pasatieri’s adaptation of Molière remains highly satisfying in its succession of rich melodies entwined with quick comic situations.
    –Robert Jacobson, Opera News

    As a musician, he achieves potent effects with an economy of means.
    –Samuel Singer, Philadelphia Inquirer

    The music of “Signor Deluso” is melodious, witty, effective and immediately accessible…Pasatieri possesses a unique and viable musical voice.
    –John W. Lambert, The News and Observer (Raleigh, N.C.)

    Signor Deluso took the stage and never let go. It is an irresistible little gem, full of Pasatieri’s now famous blend of contemporary and Italian verismo techniques.
    –Tim Smith, Prince George’s Jounral

    A delightful contemporary comic opera entered the ranks with the world premiere of Thomas Pasatieri’s Signor Deluso…he has created thirty minutes of comic concision and captivating music –a lovely thing with grateful soaring lines, graceful rhythms and tr
    –Robert Jacobson, Opera News

    …the story is highly theatrical and Pasatieri’s music is lyrical, unashamedly Romantic, always accessible. …Not surprisingly, this has proved to be a popular opera, performed literally thousands of times around the world.
    –Kevin Bazzana, Times Colonist

    “Signor Deluso” is an exuberant sendup of over-the-top comic opera plots, filled with effusive lovers leaping with alacrity to wrong conclusions in floods of extreme vocalism. … It is frothy and fun, and perfect for a young cast.
    –Anne Midgette, The Washington Post

    …the story’s central women are vividly, distinctly drawn, with relatable desires expressed eloquently in both words and music. The opera has many elements of mystery and room for audience interpretation. … Pasatieri’s vocal writing is impeccable…
    –Ronni Reich, New Jersey Star-Ledger

    …a two-singer piece written for veteran divas Catherine Malfitano and Lauren Flanigan, and initially it seems to be a typically elegiac chamber piece about aging, forgotten females reliving the past. But the past keeps morphing into questionable realities
    –David Patrick Stearns, Philadelphia Inquirer

    Pasatieri evinces the virtues of yesteryear. He delights in uncomplicated melody and transparent harmonies. He writes in a smooth manner that respects the parameters of an artist’s vocal range. He sets texts with pristine clarity that renders projected ti
    –Allan Ulrich, Fianacial Times

    …an enduring comic romp…he has transformed George Feydeau’s 1907 play A Flea in Her Ear,” into a 21st century hoot that delighted the audience at its world premier…”
    –Paul Duclos,

    Pasatieri’s latest an endearing comedy[headline] …a winning new opera… Friday’s event had the feel of a major opening…The new opera didn’t disappoint. The Hotel Casablanca” is one of those rarer-than-hen’s-teeth works: contemporary, well-crafted, richly m
    –Georgia Rowe, Contra Costa Times

    There is a lot to love in Pasatieri’s opera. In addition to the amusing, confusing plot, he has composed a whole Texas-sized parcel of tunes. …tunes melancholy, tunes jazzy and rhythmic, and tunes that make you want to tap your feet and sing along.
    –Parsons, American Record Guide

    Pasatieri’s musical language is contemporary but tonal, tracing its origins to the German and Italian schools of opera… Though it uses a small orchestra by operatic standards, this instrumentation allowed Pasatieri sufficient variety, particularly in term
    –Rick Rogers,

    The best farces…balance the uproarious and ridiculous with the poignant and the tender, and Pasatieri has done that with both his libretto and his music.
    –Henry Fogel, Fanfare

    …an evening of enchanting laughter.

    –Olga Privman,

    Inspired by Georges Feydeau’s Belle Époque play “A Flea in Her Ear”… “The Hotel Casablanca” is part breezy, sometimes bawdy farce; part love letter to the lyric stage. … Though drawn in broad, comedic strokes, each character also demands a measure of dignity
    –Steve Smith, New York Times

    …just for fun, Pasatieri tosses in musical quotes from Mozart and Verdi (Otello”), to the pleasure of the opera cognoscenti. It fairly crackled with comedy. Pasatieri’s one of the leading veterans of American operatic composition, writes very sympathetica
    –Paul Hertelendy,

    …the dramatic and beautiful product of a gifted composer.
    –Michelle Krisel, Aspen Times

    The score was grippingly dramatic, yet fluid and expressive, from the first ominous measures that set the tragic mood, continuing with skillful instrumentation and deft vocal writing…Pasatieri wrote stunning choruses and smaller ensembles.
    –Music Journal

    …Pasatieri is the first young opera composer to come along in a long while who shows the characteristic qualities of a potentially great composer for the stage…He has a pronounced gift for writing both solo and ensemble vocal melodies…the new opera shows
    –Gail Stockholm, Cincinnati Enquirer

    Pasatieri has an instinctive feeling for the theatre.
    –Louis Snyder, The Christian Science Monitor

    …a soaring piece of lyrical theater…a work of prevading lyricism and a viable drama as well – a rare combination.
    –Olin Chism, Newsday

    …He uses the orchestra opulently and many of his passages are ripe for the melodic plucking.
    –Ann Holmes, Houston Chronicle

    Pasatieri’s score is extremely warm and attractive, and it has an immediacy of appeal which is rare in contemporary opera. It is beautifully crafted for the voice and…the listener is almost continually bathed in a sea of meltingly lovely melodic lines and
    –Irving Lowens, Washington Star

    The vocal writing is dramatically pointed yet always graceful, with the sizeable orchestra supporting the singers with potent ideas of its own.
    –Bill Zakariasen, N.Y. Daily News

    Pasatieri’s operas are well crafted and imbued with a flowing theatrical naturalness. … He truly is an heir to the verismo tradition of Puccini, Leoncavallo and Mascagni.
    –Arlo McKinnon, Opera News

    Pasatieri’s dense post-romantic music is radiant … a peerless night at the opera, both musically and theatrically, and “The Seagull” should be performed more frequently.
    –Victor Wheeler,

    Thomas Pasatieri has written seventeen operas in a frankly emotional, lyrical vernacular, rich in passion and melody, though prominent figures in the musical establishment used to frown on such things. Still, he persisted, pleasing audiences and winning p
    –Opera News

    …an engaging work providing a marvelous lyrical flow…Pasatieri is a master at producing post-Puccini lyricism.
    –D. Rane Danubian,

    The chain of suffering, anguish, and death is communicated very well to the audience…a fusion of language, theatre and vocals. As flamboyant divas, villainous intellectuals, aspiring actresses and self-doubling writers, they triumph in examining their liv
    –Asya Passinsky, The Daily Califonian Online

    The young composer was born to write dramatic and vocal music. It pours out of him— for the orchestra, for the voices, in one diverse, expressive lyric outburst after another, tonal and atonal, always suited to the characters who sing them.
    –Hubert Saal, Newsweek

    Pasatieri writes the way he likes, which means straight into the teeth of contemporary thought. He is thoroughly, heart and soul, a conservative and a romanticist. He believes… in luscious harmonies, in orchestration contrived for the most part never to i
    –High Fidelity/Musical America

    This work…has been tailored for television and uses the electronic medium to advantage.
    –Kay Gardella, N.Y. Daily News

    …a great success – a gripping, moving hour of musical-dramatic entertainment…
    –John Rockwell, Los Angeles Times

    The story is retold with compelling fervor…As a musical drama, it is a television breakthrough.
    –Dwight Newton, Self-Examiner

    You can’t hum a few bars from The Trial of Mary Lincoln; [but] you can be devastated by an hour that tightens its grip on the awareness until the spring snaps and the key falls away into darkness.
    –Life Magazine

    Pasatieri brings together a variety of compositional elements, resulting in an outcome distinctively his own…It is the mark of an exceptional talent that Pasatieri was able to sustain a largely intellectual discussion over a period of nearly an hour.
    –Irving Kolodin, Saturday Review

    The Trial of Mary Lincoln…is authentic American history and this heightens its power, but the skill of librettist and composer are the alchemy which gives the work stirring life…[Pasatieri] writes melody which can be sung, though not always with spontaneo
    –Harriett Johnson, New York Post

    A high point of drama was achieved without overwritten musical passages and embellishments that would have obscured the drama…Pasatieri managed to find the exact spot for Mary Lincoln’s major aria, leading into it without fussy obviousness and coupling it
    –Gordon R. Gibson, Opera Journal

    …the score by Thomas Pasatieri, a 26-year-old composer, is a felicitous blend of arias, ensembles, waltzes and lullabies… The work, in short, is that rare specimen likely to appeal to the professional and to the viewer who couldn’t care less about opera,
    –John J. O’Connor, New York Times

    …Thomas Pasatieri has created a mini-masterpiece…The Trial of Mary Lincoln is a television gem.
    –Hal Bates, The Hollywood Reporter

    …Mr. Pasatieri’s score…creates mood and heightens the drama…it provides a substantial and sonorous background for the story.

    –Herbert Kupferberg, The National Observer

    Pasatieri composed a score that always worked with the human voice, supporting and enhancing it…[he] writes melodically but the role was also a difficult one with a challenging range.
    –John Vorhees, Seattle Times

    …the work of a sincere composer who takes his tradition seriously and writes for the voice with unusual skill. The texture of his scoring for orchestra is not only expert but dramatically effective and pleasing to the ear.
    –Winthrop Sargeant, The New Yorker

    …Pasatieri does his job well, using music that through its appropriate mirroring of the mid-19th century period and the pensive Jamesian mood is never at odds with the story. Pasatieri doesn’t try to flaunt his precocity. His is firmly crafted, considerat
    –Bill Zakariasen, New York Daily News

    Washington Square is a hit. Thomas Pasatieri’s opera is a successful blending of the many elements that make up opera.
    –John Guinn, Detroit Free Press

    He is particularly adept at writing vocal ensembles, as well as solo arias, always revealing an expert understanding of the capabilities of the singing voice…Several duets and trios are joys to the ear, but most stunning is the octet of Act II.
    –John Scheider, Opera News

    This is opera as theatre, rich in drama…Pasatieri’s score is a commendable translation of Jamesian tone…An exciting production to be a part of, as audience and performer, Washington Square has been inscribed in American opera.

    –Sharon H. Polansky, The Augusta Chronicle

    …a musical experience which is admittedly contemporary, but which is also lyrical and which is above all totally American…Those who attended were richly rewarded.
    –John G. Schaeffer, Augusta Herald

    …the work is both faithful to the essence of James and inspired opera. Pasatieri’s score bursts with vitality. There are fourteen separate scenes in the three acts, richly diverse in musical devices and settings, from a solemn hymn to comic patter…his voc
    –Hubert Saal, Newsweek

    …the opera offers much strength and interest…the work has a sense of forceful theater.
    –Robert Jacobson, Opera News

    The score is coherent, tasteful and, was thoroughly operatic in its impact.

    –Allen Hughes, The New York Times

    Pasatieri does, however, compose in a long, undulating vocal line, avoiding the jagged, sawtoothed vocal figures favored by many contemporary composers…It is filled with soaring and searing dramatic passages…This opera has proved it can sing.
    –Peter Wynne, The Sunday Record

    New Yorker Tom Pasatieri finally became a prophet with honor in his home city through the fine production of his Washington Square by the New York Lyric.
    –Bill Zakariasen, Daily News

    The world premiere of Washington Square by the Michigan Opera Company reveals that exciting phenomenon of a composer who is definitely going somewhere…
    –Andrew Mack, Medical Center News

    Pasatieri’s music is lyrical and varied, with heavy emphasis on romantic melody. The music imparts a feeling of serenity and love, or forceful rage, according to the situation.
    –Clarence E. Persinger, The South End

    Washington Square is a most listenable, quite enjoyable opera.
    –Robert Delaney, The Detroit Monitor

    Pasatieri [has an] uncanny knack for the stage for the stage and a real penchant for striking theatrical effects. He always seems to come up with the right move for the moment…solid technique and craftsmanship… it would have to go down as a considerable,
    –Irwin Shainman, Berkshire Eagle

    The action flows smoothly, his characters are given time to reveal themselves, and there is everywhere a fine sense of timing.
    –Robert Yanal, The Detroit Sun

    …the new piece exercised great appeal…[the] five performances here proved vastly accessible and attractive…Pasatieri’s writing has the virtues of simplicity of style, creating an emotional climate and propelling the action and text along. Scored for 15 pl
    –Robert Jacobson, Variety

    Washington Square proved to be a work which should join the repertoire of many opera companies. There was never a boring moment throughout the opera…The octet is a vocal tour de force and the orchestration was resilient and full.
    –Patricia Beach Smith, Observer-Eccentric

  • Three Symphonies THREE SYMPHONIES
    Albany Records (TROY1552); February 1, 2015
    Performer(s): Catherine Clarke Nardolillo, soprano; Lexington Singers Children’s Choir; Danville Children’s Choir; University of Kentucky Symphony Orchestra; John Nardolillo, conductor
    Work(s): Symphony No. 1
    Symphony No. 2
    Symphony No. 3
    From the Heartland FROM THE HEARTLAND
    Albany Records (TROY1349); May 1, 2012
    Performer(s): Robert Peavler, baritone, Arlene Shrut, piano
    Work(s): Three Poems of Oscar Wilde
    God Bless Us, Every One! GOD BLESS US, EVERY ONE!
    Albany Records (TROY1265); April 1, 2011
    Performer(s): Marc Embree, Catherine Nardolillo, Jonathan Hare, Willy Falk, Julie LaDouceur, Nicholas Provenzale, Dicapo Opera Theatre, John Nardolillo, conductor
    Work(s): God Bless Us, Every One!
    Monologues MONOLOGUES
    Albany Records (TROY1083); December 1, 2008
    Performer(s): Lauren Flanigan, soprano, Voices of Change Chamber Ensemble, Joseph Illick, conductor
    Work(s): Before Breakfast
    Lady Macbeth
    The Hotel Casablanca THE HOTEL CASABLANCA
    Albany Records (TROY1005); February 1, 2008
    Performer(s): University of Kentucky Opera Theatre, John Nardolillo, conductor
    Work(s): The Hotel Casablanca
    Frau Margot FRAU MARGOT
    Albany Records (TROY965-66); September 18, 2007
    Performer(s): Fort Worth Opera, Joseph Illick, conductor, Lauren Flanigan, Patricia Risley, Morgan Smith, Allan Glassman, Daniel Okulitch
    Work(s): Frau Margot
    Songbook SONGBOOK
    Albany Records (TROY901); December 1, 2006
    Performer(s): Sheri Greenawald, soprano, Victoria Livengood, mezzo-soprano, Karen Slack, soprano, Jordan Shanahan, baritone, Warren Jones, piano
    Work(s): A Rustling of Angels
    Dream Land
    I Just Love My Voice
    Ophelia’s Lament
    Overweight, Overwrought Over You
    The Last Invocation
    Three Poems of Oscar Wilde
    Divas DIVAS
    Albany Records (TROY847); May 30, 2006
    Performer(s): Sheri Greenawald, soprano, Ashley Putnam, soprano, Ryan Kinsella, tenor, Eric Margiore, tenor, Opera Company of Brooklyn, Jay Meetze, conductor, Thomas Pasatieri, piano

    Work(s): Divas of a Certain Age
    La Divina
    Signor Deluso

    The Seagull THE SEAGULL
    Albany Records (TROY579-80); April 29, 2003
    Performer(s): Manhattan School of Music Opera Theater, David Gilbert, conductor
    Work(s): The Seagull
    Christmas with Thomas Hampson CHRISTMAS WITH THOMAS HAMPSON
    Teldec (73135); November 1, 1991
    Performer(s): Thomas Hampson, baritone; St. Paul Chamber Orchestra, Hugh Wolff, conductor
    Work(s): Alleluia

  • 1965: Aspen Festival Composition Contest winner – The Woman

  • Alleluia
    for Medium Voice and Small Orchestra
    Concerto for Harpsichord
    Frau Margot
    Opera in Three Acts Based on the play “Lyric Suite” by Frank Corsaro
    God Bless Us, Everyone
    (Piano/Vocal Score)

    A Christmas Opera
    In the Light of Angels
    for Soprano, Mezzo-soprano, Children’s Chorus, and Orchestra
    Symphony No. 1
    for Orchestra
    Symphony No. 3
    for Orchestra
    The Family Room
    Opera in One Act
    The Hotel Casablanca
    Opera in Two Acts, Inspired by “A Flea in Her Ear” by Georges Feydeau
    The Seagull (Act 1)
    Opera in Three Acts
    The Seagull (Act 2)
    Opera in Three Acts
    The Seagull (Act 3)
    Opera in Three Acts