LASZLO received his classical singing education at the Conservatory in Vienna, as well as at the viennese University of Music studying with well known Singers/Teachers… .

To bring his vocal technique to perfection Laszlo attended several master classes, courses and workshops.

Engagements and tours lead him to Germany, Switzerland, Belgium and Denmark. After some years as guest soloist at the “Wiener Volksoper” he became a member of the company.

He worked with well-known directors like Thomas Langhoff, Robert Herzl, Francesca Zambello and Bernd Palma and conductors like Sebastian Weigle, Rudolf Bibl, Alfred Eschwé and Stefan Lano.

After several successful years at the “Wiener Volksoper” he decided to work independently as an opera and concert singer. His engagements lead him to the “Bregenz Festival”, to the “Ronacher Wien”, to the “Musical Comedy of Leipzig” and several theatres and festival throughout Europe.

With challenging tenor parts like the “Tamino” in ” The Magic Flute” from Mozart, the “Duke of Mantua” in “Rigoletto” and the main parts in the Kálmán operettas “Dukess Marizza” (Duke Tassilo), “The Princess of Chardás” (Prince Edwin) and the “Sán
Barinkay”, the main role at the “Gipsy Baron” (Johann Strauss) and many, many, more, he has proved his versatility. For further information, please see repertoire. Also the comical tenor “Alfred” in THE BAT of Johann Strauss is one of his famous roles (Also have a look at his classic repertoire).

In the last years his voice has developed more and more into the so called “Young heroic tenor”. There, await him new and enjoyable challenges.

Beside his singing education, he has also received a well-founded acting education.

The Voice

He has a tenor opera voice – technical expression, lirico-spinto tenor, as well as a young hero tenor.

The voice is dark in the lower range and brilliant in the high.

The sound of the voice can be rendered very soft and light, up to strong and steely.

The range of the voice with classical sound: 2 octaves /A-d´´

His voice is characterized additionally through a distinctive singer formant with 3000 Hz. This intensification of the frequency of the voice makes opera voices extremely carrying and very auditable even with a loud orchestra.