The Paris National Opera learned with sadness and deep emotion of the passing of the bass-baritone José Van Dam at the age of 85. A major figure on the international operatic stage, he was distinguished by the nobility and naturalness of both his singing and his diction.

Born in Brussels in 1940, he was quickly engaged by the Paris Opera Company, where he made his debut in small roles. A favorite interpreter of Karajan, who conducted him on numerous occasions in Berlin and Salzburg, José Van Dam returned triumphantly in 1973 to the Palais Garnier in the role of Figaro in Le Nozze di Figaro, in Giorgio Strehler’s legendary production under the baton of Georg Solti. It was Rolf Liebermann who recommended him for another Mozart role: Leporello in Joseph Losey’s film Don Giovanni, in which he portrayed an unforgettable servant alongside Ruggero Raimondi.

While he established himself as a leading interpreter of the Mozart repertoire, he also left an indelible mark in the title role of Saint François d’Assise by Olivier Messiaen, conducted by Seiji Ozawa at its premiere at the Palais Garnier in 1983. He returned to this role twice at the Paris Opera: in 1992 in Peter Sellars’ new production, and again in 2004 in Stanislas Nordey’s staging. His masterful interpretation will remain in our memories, striking us with its intensity and dramatic power.

Equally at ease in comedy and tragedy, he left his mark on each of his appearances at the Paris Opera through his accomplished stagecraft and commanding presence, under the baton of distinguished conductors such as Sylvain Cambreling, Myung-Whun Chung, Marek Janowski, Alain Lombard, and Thomas Hengelbrock. His warm timbre, pure vocal line, and flawless diction served equally well extroverted characters such as Escamillo in Carmen, Méphistophélès (Gounod and Berlioz), Dapertutto (Les Contes d’Hoffmann), and Don Quichotte, as well as more introspective roles such as Alfredo’s father in La Traviata and Golaud in Pelléas et Mélisande.

For many, he will forever remain the Leporello of Joseph Losey’s film Don Giovanni, or the Music Master in Gérard Corbiau’s film, not to mention his extensive discography spanning the operatic repertoire, French mélodie, and German Lieder.

The Paris National Opera extends its most sincere thoughts to his family and loved ones and pays tribute to the memory of this humble and generous artist whose career stands as an example.