About
PC: Sean Fitzpatrick
Gregório Taniguchi, tenor, empowers narratives with an intuitive sense of storytelling. He brings linguistic gusto and vitality to performances as the Evangelist in Bach’s St. John Passion and Christmas Oratorio, Æneas in Cavalli’s La Didone, Miles Zegner in Missy Mazzoli's Proving Up, and Septimius in Handel's Theodora. He was a featured soloist in a Peter Sellars-staged production of Schütz’s Musikalische Exequien with Los Angeles Master Chorale, which opened the Salzburg Musikfestpiele. He has toured Ecuador with the emerging ensemble Las Aves, presenting historically-informed 17th-century Italian and Spanish sacred repertoire in the cathedrals of Quito during Holy Week.
Gregório has worked with pioneers and the next generation scholar-interpreters of early music, such as John Butt, Rubén Dubrovsky, Jane Glover, Maria Guinand, Matthew Halls, Dana Marsh, and Ruben Valenzuela. He enjoys the alchemy of collaborative ensemble singing, especially with Clarion Voval Ensemble, TENET, Tesserae, Bach Collegium San Diego, and Washington Bach Consort. Gregório earned a Bachelor’s degree (B.M.) in Vocal Performance at the Bob Cole Conservatory of Music at California State University–Long Beach, and a Master's degree (M.M.) in Early Music at the Indiana University Jacobs School of Music.
Gregório is passionate about being an active part of the community of artists, coaching language, and teaching. As a pandemic passion project, he recorded some of his mother’s favorite fado while self-accompanying on ukulele, spurring him to learn guitarra portuguesa. He revels in being part of his ecological community, germinating seeds and raising native wildflowers of the places he calls home.
““As the Evangelist, the deliverer of the Biblical drama in recitative, tenor Gregorio Taniguchi was extraordinary. Much of the time from memory, he intoned the flood of words with clarity and an intuitive sense for storytelling. It was Taniguchi’s task to pass along St. John’s Passion, its content, before and in between the choruses, chorales, and solos Bach created to empower the narrative. He did it expertly and expressively.”
—Peter Jacobi, Bloomington Herald-Times”
““A virtuoso sequence of pain and glory, from ‘All they that see him laugh him to scorn’ to ‘But Thou didst not leave his soul in Hell,’ was spectacularly brought off by [Taniguchi].”
—Jay Harvey, Upstage”
