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The 2020-2021 season is Andris Nelsons seventh as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. In summer 2015, following his first season as music director, his contract with the BSO was extended through the 2021-22 season. In February 2018 Mr. Nelsons was also named Gewandhauskapellmeister of the Gewandhausorchester Leipzig. On October 5, 2020, the BSO and GHO jointly announced extensions to Mr. Nelsons current contracts. His contract with the BSO was extended until 2025, and his GHO contract until 2027. An evergreen clause in his BSO contract reflects a mutual intention for a long-term commitment between the BSO and Mr. Nelsons beyond the years of the agreement.
Mr. Nelsons’ two positions, in addition to his leadership of a pioneering alliance between the institutions, have firmly established the Grammy Award-winning conductor as one of the most renowned and innovative artists on the international scene today. In fall 2019 Mr. Nelsons and the BSO hosted the Gewandhausorchester in historic concerts at Symphony Hall that included two performances by the GHO as well as concerts featuring the players of both orchestras together.
In the 2019-20 season, Andris Nelsons led the BSO in repertoire ranging from favorites by Beethoven, Dvořák, Grieg, Mozart, Mahler, Ravel, and Tchaikovsky to world and American premieres of BSO-commissioned works from Eric Nathan, Betsy Jolas, and the Latvian composer Arturs Maskats. The season also brought the continuation of his complete Shostakovich symphony cycle with the orchestra and collaborations with an impressive array of guest artists. Mr. Nelsons’ work with the BSO resumes with his return to Boston at the start of 2021.
Andris Nelsons’ and the BSO’s ongoing series of recordings of the complete Shostakovich symphonies for Deutsche Grammophon has included the composer’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905), and most recently a two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). The cycle has earned three Grammy awards for Best Orchestral Performance and one for Best Engineered Album. The next installment, featuring symphonies nos. 1, 14, and 15 and the Chamber Symphony, Op. 110a (arr. Rudolf Barshai), is scheduled for release in summer 2021. Future releases will go beyond the symphonies to encompass the composer’s concertos for piano, violin, and cello, and his monumental opera Lady Macbeth of the Mtsensk District. Mr. Nelsons’ other recordings with the orchestra include the complete Brahms symphonies for the BSO Classics label and a Naxos release of BSO-commissioned world premiere works by four American composers: Timo Andres, Eric Nathan, Sean Shepherd, and George Tsontakis.
The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. In November 2017, Mr. Nelsons and the BSO toured Japan together for the first time. They have so far made three European tours together: immediately following the 2018 Tanglewood season, when they played concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam; in May 2016, a tour that took them to eight cities in Germany, Austria, and Luxembourg; and, after the 2015 Tanglewood season, a tour that took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals. A scheduled February 2020 tour to East Asia was canceled due to the COVID-19 pandemic emergency.
In his capacity as BSO Music Director and Gewandhauskapellmeister of the Gewandhausorchester Leipzig, Mr. Nelsons brings the BSO and GHO together for a unique multi-dimensional alliance including a BSO/GHO Musician Exchange program and an exchange component within each orchestra’s acclaimed academy for advanced music studies. A major aspect of the alliance is a focus on complementary programming, through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig,” highlighting each other’s musical traditions through uniquely programmed concerts, chamber music performances, archival exhibits, and lecture series. The two orchestras have jointly commissioned and premiered works from Latvian, American, and German and Austrian composers.
In addition to his Shostakovich recordings with the BSO, Mr. Nelsons’ exclusive partnership with Deutsche Grammophon includes two other major projects. With the Gewandhausorchester he continues his critically acclaimed Bruckner symphonic cycle under the Yellow Label, of which four volumes have been released to date. His recordings of Beethoven’s complete symphonies with the Wiener Philharmoniker were released by Deutsche Grammophon in October 2019.
Mr. Nelsons frequently leads such orchestras as the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, and the Concertgebouw in Amsterdam. As an opera conductor, he has made regular guest appearances at the Royal Opera House, Covent Garden and the Bayreuth Festival. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was Music Director of the City of Birmingham Symphony Orchestra (2008-2015), Principal Conductor of Nordwestdeutsche Philharmonie in Herford, Germany (2006-09), and Music Director of the Latvian National Opera (2003-07).
Andris Nelsons, conductor
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Renée Fleming is one of the most highly acclaimed singers of our time, performing on the stages of the world’s greatest opera houses, concert halls, and theaters. Winner of four Grammy® awards and the US National Medal of Arts, Renée has sung for momentous occasions from the Nobel Peace Prize ceremony to the Diamond Jubilee Concert for HM Queen Elizabeth II at Buckingham Palace. In 2014, Renée brought her voice to a vast new audience as the only classical artist ever to sing the US National Anthem at the Super Bowl. In 2008 Renée was the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala.
When social distancing precautions began, Renée was preparing to depart for a recital tour of Europe and the US with the Russian pianist Evgeny Kissin. During the shutdown, the two artists collaborated from their respective continents to record Schubert’s “Ave Maria” in support of healthcare workers. Renée also appeared in the Metropolitan Opera’s live “At-Home Gala” in April. Last spring, she appeared opposite Ben Whishaw in Norma Jean Baker of Troy to open The Shed in New York City. Last summer, she performed the world premieres of André Previn’s Penelope and Kevin Puts’ The Brightness of Light at Tanglewood. In June, she made her London musical theater debut as Margaret Johnson in The Light in the Piazza, bringing her acclaimed portrayal to Los Angeles and Chicago in the autumn. Renée earned a Tony Award nomination for her performance in the 2018 Broadway production of Rodgers and Hammerstein’s Carousel. Her new album, Lieder: Brahms, Schumann, and Mahler, was released by Decca in June. She was nominated for a Tony Award for her performance on Broadway in Carousel.
Known for bringing new audiences to classical music and opera, Renée has starred in and hosted an array of television and radio broadcasts, including The Met: Live in HD and Live from Lincoln Center. Her voice is featured on the soundtracks of the Best Picture Oscar winners The Shape of Water and The Lord of the Rings: The Return of the King. Renée has recorded everything from complete operas and song recitals to indie rock and jazz; and her album Signatures was selected by the U.S. Library of Congress for the National Recording Registry, as an “aural treasure worthy of preservation as part of America’s patrimony.”
As Artistic Advisor to the John F. Kennedy Center for the Performing Arts, Renée launched a collaboration with the U.S. National Institutes of Health, with participation by the NEA, focused on the science connecting music, health, and the brain. She has given presentations with scientists and practitioners on this subject around the world, earning Research!America’s Rosenfeld Award for Impact on Public Opinion.
In August, Renée was appointed co-director of the Aspen Opera Theater and VocalARTS. She is the Artistic Director of SongStudio at Carnegie Hall, another program for young artists, dedicated to the art of the song recital. Renée is a member of the Board of Trustees of Carnegie Hall, the Board of Sing for Hope, and the Artistic Advisory Board of the Polyphony Foundation, which works to bridge the divide between Arab and Jewish communities in Israel by creating a common ground where young people come together around classical music. She is also a spokesperson for the American Musical Therapy Association.
Renée’s other awards include the Fulbright Lifetime Achievement Medal, Germany’s Cross of the Order of Merit, and France’s Chevalier de la Légion d’Honneur. Renée’s memoir The Inner Voice, published in the US and UK in 2004, has since been translated and published in France, Germany, Japan, Poland, Russia, and China, and is now in its 16th US printing.
Renée Fleming, soprano
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Erin Morley is one of today's most sought after coloratura
sopranos. She has stepped into the international spotlight in
recent years with a string of critically acclaimed appearances in
the great opera houses of the world.
Ms. Morley has brought what the New York Times called the "silken
clarity of her voice and the needlepoint precision" of her
coloratura to the Metropolitan Opera, the Vienna Staatsoper,
Munich's Bayerische Staatsoper, the Opéra National de Paris, the
Palau de les Arts in Valencia, Spain, and the Santa Fe Opera.
Renowned for her musicality and deft phrasing, she has also
appeared as a soloist with America's premier symphony orchestras,
including the Cleveland Orchestra, Chicago Symphony Orchestra,
Philadelphia Orchestra, and the New York Philharmonic.
The 2015-16 season takes Ms. Morley back to Munich (Fiakermilli in
Arabella) and Paris (Sophie in Der Rosenkavalier), and will include
debuts at the Minnesota Opera (Ariadne auf Naxos) and with Harry
Bicket's renowned chamber group, The English Concert, in a European
and North-American tour singing Angelica in Handel's Orlando with a
final performance at Carnegie Hall.
A graduate of the Metropolitan Opera's Lindemann Young Artist
Development Program, Ms. Morley has sung more than 70 performances
at the Metropolitan Opera. She was hailed by critics as "a major
success" when she stepped in last-minute to sing Sophie in an
entire run of Der Rosenkavalier in the 2013-14 season. (She will
return to the Met as Sophie in a new production alongside Elīna
Garanča and Renee Fleming, with James Levine at the podium.) Met
audiences also heard Ms. Morley's role debuts as Olympia (in Les
Contes d'Hoffmann) in the 2014-15 season, and Sister Constance (in
Dialogues des Carmélites) in 2013-14, among others.
Equally at home in chamber music, Ms. Morley has appeared with
Louis Langrée and the Mostly Mozart Festival Orchestra, with the
Chamber Music Society of Lincoln Center, in a recital tour with
pianist Vlad Iftinca (Salt Lake City's Virtuoso Series and
Carnegie's Weill Hall), and with pianist Ken Noda (in Webern's Four
Songs) and James Levine and the Met Chamber Ensemble in Carnegie's
Zankel Hall (in Satie's Socrate).
In commercial recording, Ms. Morley can be seen as Sandrina (in La
Finta Giardiniera) with conductor Emmanuelle Haïm in the Opéra de
Lille production for Erato; as Woglinde (in Götterdämmerung) with
conductor Fabio Luisi in the Metropolitan Opera's Grammy
Award-winning Lepage Ring Cycle for Deutsche Grammophon; and can be
heard as Marguerite de Valois (in Les Huguenots, live from Bard
SummerScape), for the ASO label; in Carl Nielsen's Symphony No. 3
"Espansiva" with Alan Gilbert and the New York Philharmonic for Da
Capo Records; and as Sylvie in Gounod's opéra-comique La Colombe
(to be released in November 2015) with Mark Elder and The Hallé
Orchestra for the Opera Rara label.
The daughter of a violinist, Ms. Morley spent her early years
studying violin and piano, and frequently collaborated with her
mother. While obtaining her undergraduate voice degree from
Eastman, she continued her piano studies, and accompanied singers
in lessons and recitals. She went on to earn her Master of Music
voice degree from The Juilliard School and her Artist Diploma from
the Juilliard Opera Center in 2007, where she received the Florence
& Paul DeRosa Prize. Ms. Morley won 1st Place in the Licia
Albanese - Puccini Foundation Competition in 2006, 3rd Place in
London's Wigmore Hall International Song Competition in 2009, and
received the Richard Tucker Career Grant in 2013.
Erin Morley, soprano (Sophie)
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"Graham's mezzo-soprano is a voice without regrets,
healthy, rounded, ineffably musical, and eager for a challenge."
Susan Graham, one of the world's foremost stars of opera and
recital, is a compelling and versatile singing actress. Celebrated
as an expert in French music, Graham has been honored by the French
government with the title "Chevalier de la Légion d'honneur."
Highlights of Susan Graham's 2011-12 season include the
Grammy-award winner's much-anticipated Canadian Opera Company debut
as Iphigenia in Gluck's Iphigenia en Tauride. Graham also returns
to the San Francisco Opera in the title role of Handel's Xerxes,
and the Paris Opera for performances of Franz Lehár's popular
operetta The Merry Widow. In January, she embarks on an American
recital tour with her frequent collaborator, pianist Malcolm
Martineau that culminates in her return to Carnegie Hall.
This past season, the "peerless American mezzo" (New York
Observer) took on a number of favorite roles. At Teatro Real
Madrid and at her home company, New York's Metropolitan Opera,
Graham stared opposite Plácido Domingo in the title role of Gluck's
Iphigénie en Tauride, on which she had already "put her own stamp"
(Chicago Tribune). At Houston Grand Opera, she reprised her
"breath-stopping" (Independent, UK) portrayal of the Composer in
Strauss's Ariadne auf Naxos, and with the Philadelphia Orchestra,
she sang Marguerite in Berlioz's La damnation de Faust. In
the 2009-2010 season, Susan Graham sang Mahler's Rückert-Lieder
with Michael Tilson Thomas and the San Francisco Symphony, and
recorded the song cycle for the Symphony's own record label.
She returned to the Metropolitan Opera for a signature role -
Octavian in Der Rosenkavalier - and she portrayed Dido in Purcell's
Dido and Aeneas with the Philharmonia Baroque Orchestra and
Nicholas McGegan on the West Coast. Lyric Opera of Chicago
welcomed her back for her first company performances in Berlioz's
La damnation de Faust, which she performed during the 2008-09
season at the Met and in The Met: Live in HD. With the
Houston Grand Opera, she has also taken on the title role in
Handel's Xerxes, singing the famous aria "Ombra mai fù." Graham
closed out the 2009-10 season performing Chausson's Poème de
l'amour et de la mer with the New York Philharmonic under Sir
Graham is a leader in the international Christoph Gluck opera
revival. She has sung the title role of Iphigénie en Tauride in a
new production staged for her by the Metropolitan Opera, and at
Lyric Opera of Chicago, San Francisco Opera, and the Royal Opera
House, Covent Garden. The Chicago Tribune wrote, "Graham put her
own stamp on the part, bringing both nobility and vibrant vocal
beauty to her affecting performance."
At home and abroad, Susan Graham has sung leading roles from the
17th to 20th centuries in the great opera houses of the world,
including Milan's La Scala, the Royal Opera House, Covent Garden,
Vienna State Opera, Opéra national de Paris, Dresden's Semperoper,
and the Salzburg Festival, and she has appeared with many of the
world's leading conductors and orchestras. Dubbed "America's
favorite mezzo" by Gramophone magazine, Graham captivates audiences
with her expressive voice, tall and graceful stature, and engaging
acting ability in both comedy and tragedy.
Three years ago, her season finale was Handel's Ariodante with
San Francisco Opera. In the words of the San Francisco Chronicle,
"Susan Graham added one more entry to her long list of triumphs
with the company, turning in a performance marked by nobility and
Graham created the part of Sister Helen Prejean in Jake Heggie's
Dead Man Walking for San Francisco Opera, and created leading roles
in two Metropolitan Opera world premieres: An American Tragedy by
Tobias Picker and The Great Gatsby by John Harbison.
Three seasons ago, Graham expanded her distinguished discography
with two recordings: Un frisson français with pianist Malcolm
Martineau, a survey of a century of French song; and her
interpretation of Berlioz's La mort de Cléopâtre, recorded with the
Berlin Philharmonic and Sir Simon Rattle and released by EMI
Classics. Earlier solo CDs include Poèmes de l'amour, with
Ravel's Shéhérazade and Chausson's Poème de l'amour et de la
mer. Her disc of Charles Ives songs with Pierre-Laurent
Aimard won a Grammy, and she received both a Grammy nomination and
France's Maria Callas award for her Dido in Purcell's Dido and
Aeneas. A New York Times review stated, "Ms. Graham … paints
Dido as passionate from the start. 'When I am laid in earth'
is as wrenching an account as you'll find on disc."
Her complete opera recordings range from Handel's Alcina and
Gluck's Iphigénie en Tauride to Barber's Vanessa and Heggie's Dead
Man Walking. Graham's Dido in Les Troyens, recorded live for DVD at
the Paris Châtelet, was praised by Gramophone as "moving and
intense … strongly acted and magnificently sung."
Born in New Mexico and raised in Texas, Susan Graham studied at
Texas Tech University and the Manhattan School of Music, which
awarded her an honorary Doctor of Music in 2008. She won the
Metropolitan Opera National Council Auditions and the Schwabacher
Award from San Francisco Opera's Merola Opera Program, as well as a
Career Grant from the Richard Tucker Music Foundation. Graham
was Musical America's 2004 Vocalist of the Year, and in 2006 her
hometown of Midland, Texas declared September 5 "Susan Graham Day"
Susan Graham, mezzo-soprano (Octavian)
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Baritone Alan Opie is a regular guest at the Metropolitan Opera
New York, La Scala, Wiener Staatsoper, Bayerische Staatsoper
Munich, Deutsche Oper Berlin, Santa Fe Festival, Glyndebourne
Festival Opera, English National Opera and Royal Opera House Covent
Garden. He has also sung at the Bayreuth Festival
singing Beckmesser - a role also repeated in Berlin,
Amsterdam, Munich, Vienna and Turin. At ENO he was nominated for
the 'Outstanding Achievement in Opera' Olivier Award for his
performance of Falstaff.
His extensive concert work has included performances of
Mendelssohn'sElijah in San Francisco and Dallas;
Walton's Belshazzar's Feast in Dallas, Denver
and Carnegie Hall; Britten's War Requiem in
Washington, Vaughan Williams' Sea Symphony in
Los Angeles, Elgar's The Kingdom with the Halle
Orchestra; Elgar's Dream of Gerontius with the
Royal Scottish National Symphony; King Olav with
the Bergen Symphony Orchestra and the Apostlesat the
Alan Opie has recorded for CBS, EMI, Hyperion, Chandos, and
Decca. Releases include "Alan Opie Sings Bel Canto Arias",
Britten's Gloriana, Albert
Herring, Peter Grimes for which he
received a Grammy Award, Death in
Venice and The Rape of Lucretia; the title
role in Dallapiccola's
Ulisse; Tonioin I
Pagliacci; Enrico in Lucia di
Lammermoor; Smirnov in Walton's The
Bear,Carlo in Ernani, di
Luna in Il Trovatore, the title role
in Il Barbiere di
Sivigliaand Beckmesser in Die
Meistersinger von Nurnberg under Sir Georg Solti for
which he received his second Grammy award.
Recent performances include Balstrode with the London
Philharmonic under Vladimir Jurowski, Accademia di Santa Cecilia
under Sir Antonio Pappano and San Francisco under Michael Tilson
Thomas as well as the title role inThe Death of
Klinghoffer at the Metropolitan Opera.
He opened the 2015/16 season at the Metropolitan Opera
with Die Fledermaus. Future engagements include a
return to the Boston Symphony Orchestra and future productions at
Alan Opie received an OBE in the Queen's birthday honours in
Alan Opie, (Faninal)
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THE GERMAN SOPRANO HAS DEVELOPED AN
EXTRAORDINARY CAREER AS DRAMATIC SOPRANO.
EARLY IN HER CAREER SHE HAD HER DEBUTS
WITH THE BAVARIAN STATE OPERA, THE BAYREUTH FESTIVAL AND THE
LANDESTHEATER INNSBRUCK. THE SUCCESSFUL COLLABORATION WITH ARTISTS
MANAGEMENT VIENNA BROUGHT HER TO OPERAHOUSES SUCH AS VIENNA
STATE OPERA, SALZBURG FESTIVAL, ROYAL OPERA HOUSE COVENT GARDEN,
SEMPEROPER DRESDEN, STAATSOPER BERLIN, OPERA BASTILLE, SEATTLE
OPERA, OPERA LYON, ESTONIAN NATIONAL OPERA, CANADIAN OPERA COMPANY
TORONTO, KOMISCHE OPER BERLIN, STAATSOPER STUTTGART, FESTSPIELHAUS
BADEN-BADEN AND THE GLYNDEBOURNE FESTIVAL.
SHE COLLABORATED WITH CONDUCTORS SUCH
AS ADAM FISCHER, CHRISTIAN THIELEMANN, GIUSEPPE SINOPOLI, PETER
SCHNEIDER, ROBIN TICCIATI, KAZUSHI ONO, ZUBIN MEHTA, KENT NAGANO,
HANS WALLAT, KIRILL PETRENKO, MARCELLO VIOTTI, SEMYON BYCHKOV AND
IMPORTANT FUTURE ENGAGEMENTS INCLUDE A
NEW PRODUCTION OF "HÄNSEL UND GRETEL" AT THE OPERA BASTILLE AND
BRÜNNHILDE IN "SIEGFRIED" AND "GÖTTERDÄMMERUNG" AT THE STAATSOPER
Irmgard Vilsmaier, soprano, (Marianne)
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Opera News hailed that "Michelle
Trainor gave one of the most satisfying performances of the
evening...her voice is richer and more expressive than ever" for
her portrayal of Brangain in Boston Lyric Opera's The Love
Potion. The Musical Intelligencer has called her performance
of Hagar's Lament "spellbinding and intense" and
The Wall Street Journal stated that she "displayed a powerful,
penetrating soprano as Brangain." Michelle performed with the
Tuscia Opera Festival in Viterbo, Italy where she was praised by
Filippo Tadonlini for her "intense and full‐bodied
This season, along with her Boston
Symphony Orchestra debut, she returns to the Boston Lyric Opera
stage to sing the role of Marcellina in Le Nozze di
Figaro. In past seasons she sang the role of Brangain in
Martin's The Love Potion to much critical acclaim, a
staged version of Schubert's early song Hagar's Lament as
well as the Second Lady in Mozart's The Magic Flute. Ms.
Trainor also reprised the role of Tosca as well as
Suor Angelica where she was hailed as a
As a Boston Lyric Opera Emerging
Artist she has sung roles in their productions of Hansel and
Gretel, Macbeth, The Inspector, The
Magic Flute and The Love Potion. Michelle recorded
the Schubert's Hagar's Lament on the BIS label with Boston
Lyric Opera and is frequent performer in the BLO Signature Series
at the Museum of Fine Arts, Boston. She was most recently nominated
by Arts Impulse for Best Female Performer in an Opera for her
performance of Suor Angelica.
Michelle's awards include: Winner
of Boston Lyric Opera's Shrestinian Award for Excellence, First
Place Winner of the New Jersey Verismo Opera Competition, St.
Botolph Club Grant Winner, First Place Winner of the Peter Elvins'
Competition, First Place Winner of the New England Regional NATSAA,
NATSAA National Finalist and Winner of the Berton Coffin
Equally at home with concert
repertoire, Ms. Trainor made her Carnegie Hall debut as a soloist
in Mahler's Eighth Symphony. She has performed works such as
Beethoven's Ninth Symphony, Haydn's Missa in Augustiis,
Vaughn Williams' A Sea Symphony and Nicholas White's
Magnificat as well as Mozart's Requiem, Mass in C
Minor, Solemn Vespers and his Missa Brevis in B Flat.
She has performed at Boston's First Night, with Composers in Red
Sneakers and she joined the stage of the Boston Ballet in their
production of A Midsummer Night's Dream as the soprano
Michelle Trainor, soprano (Milliner)
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Jane Henschel was born in Wisconsin, studied at the University
of Southern California and subsequently moved to Germany.
In concert she has appeared with the Berlin Philharmonic, New York
Philharmonic, London Symphony, BBC Symphony and Philadelphia
orchestras, the Orchestre de la Suisse Romande and the Orchestre de
Radio France under Ozawa, Conlon, Maazel, Rattle, Janowski, Colin
Davis, Andrew Davis and Schoenwandt. Her recordings include Krasa's
"Verlobung im Traum" (Zagrosek for Decca), "The Rake's Progress"
(Ozawa for Philips Classics), Albeniz' "Merlin" with Domingo
(Grammy Award, 2001) and "Henry Clifford" (both for Decca),
Britten's "The Turn of the Screw" (Daniel Harding for
EMI/Virgin - Gramophone Award 2003) and Mahler's 8th Symphony for
EMI with the CBSO and Rattle.
In opera, Jane Henschel has sung Baba the Turk at the
Glyndebourne, Saito Kinen and Salzburg Festivals; Brangäne for Los
Angeles Opera and Paris Opera; Klytemnestra for San Francisco
Opera, the Principessa ("Suor Angelica") with the Royal
Concertgebouw Orchestra and Chailly, "Dialogues des Carmélites" in
Amsterdam; the Kostelnicka ("Jenufa") under Ozawa in Japan, Auntie
("Peter Grimes") with Rattle, and the Kabanicha ("Katya Kabanova")
for the Salzburg Festival.
For The Royal Opera, Covent Garden she has sung Fricka and
Waltraute under Haitink, Ulrica ("Un ballo in maschera") under
Gatti, Klytemnestra under Thielemann and Sir Mark Elder, Mrs Grose
("The Turn of the Screw") under Colin Davis and Daniel Harding, and
Erda in the new "Ring" under Pappano; at La Scala, Milan she has
sung Herodias under Chung, Cassandre ("Les Troyens") under Colin
Davis, and Waltraute under Muti. Her roles at the Bavarian State
Opera, Munich include Herodias, Klytemnestra, Ulrica, Mistress
Quickly and Ortrud; at the Deutsche Oper, Berlin Klytemnestra,
Herodias and Ortrud; at the Vienna State Opera Klytemnestra,
Mistress Quickly and Fricka; and Mistress Quickly for Los Angeles
Opera under Nagano. It is the Amme (Die Frau ohne Schatten) which
has become her signature role, one which she has sung in Amsterdam,
London, Los Angeles, Munich, Paris, Vienna, Berlin and at the
Metropolitan Opera, New York.
Recent engagements include her return to the opera houses of
London, Paris, Munich, Berlin, Madrid, Barcelona and New York, as
well as concerts with the Dresden Staatskapelle and the Berlin
Philharmonic, Vienna Philharmonic and Boston Symphony orchestras.
Her engagements include the Salzburg Easter Festival, the
Festspielhaus Baden-Baden, the Saito Kinen Festival Matsumoto, and
her returns to the Vienna State Opera and Dresden Semperoper.
Jane Henschel, mezzo-soprano (Annina)
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Born in Littleborough in Lancashire, Graham Clark studied with Bruce Boyce and began his operatic career with Scottish Opera in 1975. He was a Company Principal at ENO (1978-85).
He has performed with all of the leading UK opera houses and his extensive international career includes performances in Aix-en-Provence, Amsterdam, Barcelona, Berlin (Deutsche Oper, Deutsche Staatsoper), Bilbao, Biwako, Bonn, Brussels, Catania, Chicago, Dallas, Dublin, Frankfurt, Geneva, Hamamatsu, Hamburg, Los Angeles, Luxembourg, Madrid (Teatro Real, Teatro de la Zarzuela), Matsumoto (Saito Kinen), Milan (La Scala), Munich, Nagoya, Nice, Paris (Opéra Bastille, Théâtre des Champs-Élysées, Théâtre du Châtelet, Palais Garnier), Rome, Salzburg, San Francisco, Stockholm, Tokyo, Toronto, Toulouse, Turin, Vancouver, Vienna (Staatsoper), Yokohama, Zurich and in particular at the Bayreuth Festival, where he has performed over a hundred and twenty times and at The Metropolitan Opera, where he has performed 82 times.
Graham Clark is especially associated with the works of Wagner and has performedLoge and Mime/Der Ring des Nibelungenover 275 times. His extensive repertoire includesMephistopheles/ Busoni'sDoktor Faust, for which he won an Olivier Award,Bégearssin the world premiere ofThe Ghosts of Versailles;Captain Vere/Billy Budd,Steva/Jenufa,Herodes/Salome,Hauptmann/Wozzeck,Gregor/The Makropulos Case,Prinz, KammerdienerandMarquis/LuluandTanzmeister/Ariadne auf Naxos. He made his acting début as Socrates inThe Trial of Socrates, Plato's Apologyat the Grand Théâtre, Luxembourg in 2011.
In concert, Graham Clark has performed at venues and festivals all over the globe including in Amsterdam, Antwerp, Bamberg, Berlin, Brussels, Canaries, Chicago, Cologne, Copenhagen, Edinburgh, London (Proms), Lucerne, Milan, Paris, Rome, Tel Aviv and Washington.
He has recorded extensively with the BBC, BMG, Challenge Classics, Chandos, Decca, Deutsche Grammophon, EMI, Erato, Etcetera, EuroArts, Oehms Classics, Opera Rara, Opus Arte, Philips, Profil, Sony, Teldec, The Met New York, United Artists, Warner
Classics and WizArt. DVDs includeDie Meistersinger von Nürnberg,Der fliegende Holländer,Der Ring des Nibelungen(Bayreuther Festspiele); TheGhosts of Versailles,Wozzeck(The Metropolitan Opera, New York);Der Ring des Nibelungen, Lady Macbeth of Mtsensk, Khovanshchina(Gran Teatre del Liceu, Barcelona);Der Ring des Nibelungen(De Nederlandse Opera, Amsterdam);The Makropulos Case(Canadian Opera, Toronto);Wozzeck(Deutsche Staatsoper, Berlin);The Rake's Progress(Glyndebourne Festival Opera) andThe Trial of Socrates(Théâtres de la Ville de Luxembourg).
Recent and future operatic engagements includeWozzeck,Metanoia,LuluandDie Meistersinger von Nürnbergfor Berlin Staatsoper, Reimann'sLearandMakropoulos Casefor Oper Frankfurt, Schreker'sDer Schatzgräber/De Nederlandse Opera,Der Traum ein Leben/Theater Bonn,Capricciofor Paris Opera,Hänsel und Gretel/Northern Ireland Opera,Falstaff/Glyndebourne,La Fanciulla del West/English National Opera, a new commission by Iain BellIn parenthesisfor WNO andCapriccioandTristan und Isoldefor Royal Opera House, Covent Garden. Concert engagements include a concert performance ofMelot/Tristanund Isolde with the West-Eastern Divan Orchestra in Seville andFalstaffwith the CBSO.
Graham Clark has received three nominations, including an EMMY, for Outstanding Individual Achievement in Opera. He was awarded the Sir Laurence Olivier Award for his performance ofMephistophelesat English National Opera in 1986, the Sir Reginald Goodall Memorial Award by the Wagner Society, London in 2001 and the Sherwin Award by The Wagner Society of Southern California in 2009.
Graham Clark, Tenor
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As the Associated Press observes, Stephen Costello is "a prodigiously gifted singer whose voice makes an immediate impact." The Philadelphia-born tenor quickly established a reputation as a "first-class talent" (Opera News) after coming to national attention in 2007, when, aged 26, he made his Metropolitan Opera debut on the company's season-opening night. Two years later Costello won the prestigious Richard Tucker Award, and he has since appeared at many of the world's most important opera houses and music festivals, including London's Royal Opera House, Covent Garden; the Deutsche Oper Berlin; the Vienna State Opera; the Lyric Opera of Chicago; San Francisco Opera; Washington National Opera; and the Salzburg Festival. In 2010 he created the role of Greenhorn (Ishmael) in the Dallas Opera's celebrated world-premiere production of Jake Heggie and Gene Scheer's Moby-Dick, prompting Opera magazine to hail him as "a tenor of ineffable sensitivity" and "unfailing elegance in singing."
Costello's 2015/16 season includes Duke of Mantua in Rigoletto and Lord Anna Bolenafor The Metropolitan Opera, The Duke Rigoletto for Teatro Real Madrid, Des Grieux in Massenet's Manon at Dallas Opera, and Edgardo in a new production of Donizetti's Lucia di Lammermoor at the Royal Opera House. Costello will also make his Santa Fe Opera debut in the title role of Gounod's Roméo et Juliette, sing Verdi Requiem with Boston Philharmonic, and sing Nemorino in a new staging of Donizetti's L'elisir d'amore at the Vienna State Opera.
Last season Costello sung Alfredo in La traviata and Camille in The Merry Widow for The Metropolitan Opera, Alfredo for the Vienna State Opera, title role Roméo et Juliette at Austin Lyric Opera and concert performances of Traviata with the Los Angeles Philharmonic at the Hollywood Bowl. Other recent highlights include Greenhorn Moby-Dick with Washington National Opera, his Houston Grand Opera debut as the Duka in Rigoletto, Bayerische Staatsoper Munich debut as Rodolfo in La boheme, and his return to the Vienna State Opera as Percy in Anna Bolena and Nemorino in L'elisir d'amore, the latter also being his second Washington National Opera engagement. Costello also sang Alfredo in La traviata at London's Royal Opera House and San Francisco Opera, and for a gala concert celebrating Richard Tucker's centennial at Lincoln Center's Avery Fisher Hall.
Costello made his professional debut in 2005 with the Opera Orchestra of New York at Carnegie Hall. The following year brought his European debut, as Nemorino with Opéra National de Bordeaux, and his first appearances at the Dallas Opera and Fort Worth Opera, as Puccini's Rodolfo. Noteworthy subsequent debuts have included the Salzburg Festival, as Cassio in Otello; Covent Garden, as Carlo in Linda di Chamounix; Lyric Opera of Chicago, as Camille in The Merry Widow; San Diego Opera and Moscow's Tchaikovsky Concert Hall, both in the title role of Roméo et Juliette; the Glyndebourne Festival, as Nemorino; and the Vienna State Opera and Berlin State Opera, both as Rodolfo in La bohème. At San Diego Opera, Costello made role debuts as the Italian Singer in Der Rosenkavalier and in the title role of Faust, besides opening the company's 2012-13 season with his first appearances as Tonio in Donizetti's La fille du regiment.
At the Dallas Opera, Costello played the tenor lead in each of Donizetti's three Tudor operas, before reprising Lord Percy opposite Anna Netrebko for his second opening-night performance at the Met, in the company's premiere presentation of Anna Bolena. He and Netrebko appeared on PBS's Charlie Rose to discuss the new production, which was transmitted worldwide in the Met's Live in HD series. For his Los Angeles Opera debut, Costello portrayed Rodolfo in La bohème; for his first appearances at Washington National Opera, he resumed the role of Greenhorn in Heggie/Scheer's Moby-Dick; and for his Houston Grand Opera debut, he scored glowing reviews as the Duke of Mantua in Rigoletto. In spring 2014, he undertook the male lead in La traviata, both for the historic first live webcast of a complete opera from London's Royal Opera House, and in a San Francisco Opera production that was simulcast to thousands in AT&T Park, home of baseball's San Francisco Giants.
Costello's performance as Cassio in Verdi's Otello, under Riccardo Muti's leadership at the Salzburg Festival, was released on DVD in 2010 (Major/Naxos), and his Covent Garden debut in Linda di Chamounix was issued on CD a year later (Opera Rara). His star turn in San Francisco Opera's Moby-Dick, televised nationwide on PBS's Great Performances, was released on DVD in 2013 (SFO) and named an "Editor's Choice" by Gramophone. Similarly, his appearance alongside Renée Fleming, Joyce DiDonato, and other operatic luminaries in 2013's centennial Richard Tucker Gala was broadcast on PBS'sLive from Lincoln Center and subsequently issued on DVD. The same year saw the release of here/after: songs of lost voices (Pentatone), featuring the tenor's world premiere recording of Jake Heggie's Friendly Persuasions: Homage to Poulenc.
Besides winning the 2009 Richard Tucker Award, Stephen Costello has previously received other grants from the Richard Tucker Music Foundation, as well as taking First Prize in the 2006 George London Foundation Awards Competition, First Prize and Audience Prize in the Giargiari Bel Canto Competition, and First Prize in the Licia Albanese-Puccini Foundation Competition. A native of Philadelphia, he is a graduate of the city's famed Academy of Vocal Arts.
Stephen Costello, tenor
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David Cangelosi has firmly established
himself as an artist who combines both excellent singing with
winning characterizations. He is highly acclaimed by major opera
companies and symphony orchestras in the U.S. and abroad. In 2004,
Mr. Cangelosi made his Metropolitan Opera debut as Mime
in Das Rheingold, conducted by James Levine, and has
returned in recent seasons with principal roles in Andrea
Chenier, Il Tabarro, and Tales of
Hoffmann. He returned to the Metropolitan Opera in 2014/2015
for performances of Die Meistersinger von Nurnberg.
Other roles at the Metropolitan include Basilio (Marriage of
Figaro), Goro (Madame Butterfly), and Spoletta
(Tosca). He will reprise his signature role of Mime for
Washington National Opera's production of The
Ring in 2015/2016, and continues a performance/recording
project of the same with the Hong Kong Philharmonic in 2015 and
2017. He recently performed his role debut of the 'Witch'
in Hansel and Gretel in the summer of 2015, and
made his company debut with Houston Grand Opera (Tosca/Eugene
Onegin) to open their 2015/2016 season. He will enjoy return
engagements with the Boston Symphony, the Cleveland Orchestra, and
Dallas Opera in 2016 and 2017, respectively.
Mr. Cangelosi's recent performances include, Mime in Francesca
Zambello's internationally acclaimed "American" Ring
Cycle with San Francisco Opera; Shuisky (Boris
Godunov), Goro (Butterfly), and Montostatos
(Magic Flute) with Dallas Opera and Lyric Opera of
Chicago, respectively; Nick (Fanciulla), Spalanzani
(Hoffman), and Spoletta (Tosca) for the Lyric
Opera Chicago; and 'The Four Servants' (Hoffmann) with the
Santa Fe Opera. In 2012, Mr. Cangelosi made his debut with the
Canadian Opera Company reprising the role of Spoletta
in Tosca; and returned in 2012/2013 for performances
of Die Fledermaus, which he also reprised at
the Lyric Opera of Chicago in 2014. Additional recent performances
in 2014/2015 included Salome with the Boston
Symphony Orchestra, and Cunning Little Vixen
with the Cleveland Orchestra. He was also engaged in August 2014 at
the Saito-Kinen Festival in Matsumoto, Japan; and returns to Lyric
Opera of Chicago for Toscain early 2015.
A long-time veteran of Lyric Opera of Chicago, Mr. Cangelosi made
his debut in Salome in 1996. Engagements with
the home company have included his signature role of Mime
(Siegfried 2004) (Ring
Cycle2005), Madame Butterfly, Ariadne
auf Naxos, Die
Zauberflöte, Carmen (Dancairo), Turandot,
and Boris Godunov. Mr. Cangelosi continues this close
association with roles that include Dr. Caius (Falstaff),
Guillot (Manon), Goro (Madame Butterfly), Beppe
(Il Pagliacci), Little Bat (Susannah), Tobias
(Sweeney Todd), and Guillot (Manon). Recent
productions with LOC include Die
Meistersinger, Madame Butterlfy,
Cangelosi made his debut at the Spoleto Festival (U.S.A.) singing
the roles of the Noctambulist/Pape des Fous
in Louise, and performed as a featured soloist for
their Intermezzi Recital Series. Recent recital/concert
performances include The Montgomery Symphony, Davis Concert Hall
(UAF) with Opera Fairbanks, and the PACC Concert series in Boston.
Other recent performances include Pang with the Lyric Opera of
Chicago and Santa Fe Opera, Valzacchi with the San Francisco Opera,
Dr. Caius with Los Angeles Opera, and Monostatos with the Los
Angeles Philharmonic (Hollywood Bowl) and Santa Fe Opera.
Career highlights include, Il Pagliacci (Beppe)
with Placido Domingo and the Washington Opera (telecast on the PBS
"Live from Kennedy Center" series), his Carnegie Hall debut with
the Cleveland Orchestra as Torquemada in Ravel's L'Heure
Espagnole (under the baton of Pierre Boulez), Monostatos
and Basilio with the Paris Opera (Bastille/Garnier), and Pedrillo
with the Ensemble Orchestral de Paris. Additionally Mr. Cangelosi
recorded the Sword Forging Scene
from Siegfried with Placido Domingo for the CD
"Domingo/Scenes from the Ring" with EMI Classics. In 2000, he
completed the CD/Film project of Tosca and made
his screen debut at the2001 Venice Film Festival.
Other engagements include, Bob Boles (Peter
Grimes), Bardolpho (Falstaff), Don Juan
(Don Quichotte), and Tybalt (Romeo et Juliette)
for the Washington Opera; Sellem (The Rakes Progress) for
San Francisco Opera; Cassio (Otello) with Nashville Opera;
Goro with Opera Theatre of St. Louis, The Magician in
Menotti's The Consul with Berkshire Opera
(available on CD), Jacquino (Fidelio) with the Cincinnati
Symphony, Pang with the Columbus Symphony, Prunier (La
Rondine) with the Boston Lyric Opera, and First Jew
(Salome) with the Boston Symphony Orchestra at Tanglewood
under Seiji Ozawa.
Mr. Cangelosi also serves as the Artistic/Program Director of the
Vann Vocal Institute in Montgomery, Alabama; and actively travels
the country as a recitalist, symphonic guest-artist, competition
adjudicator, and Master Class instructor for aspiring
David Cangelosi, tenor (Marschallin’s Majordomo)
Neal Ferreira, tenor
John McVeigh, tenor (Landlord)
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Baritone David Kravitz is increasingly in demand on operatic and
concert stages. Critics have hailed his "large, multi-layered" and
"sumptuously flexible" voice, his "power and eloquence," his
"deeply considered acting," his "drop-dead musicianship," and his
"deep understanding of the text."
This season, David Kravitz joins the Center for
Contemporary Opera in a collaboration with Laboratorio
Opera for the premiere of Love Hurts, music by
Nicola Moro and libretto by Lisa Hilton, singing the role of
Marquis de Sade / Gilles de Rais. He also debuts with Opera
Santa Barbara as Forester in Cunning Little
Vixen, and joins the Boston Symphony as the Notary
in Der Rosenkavalier.
Last season included Mr. Kravitz's role debut of Scarpia
in Tosca with Skylight Opera, and
performances of Handel's Messiah wth
the Virginia Symphony. The 2014-2015 season included a company
debut with Palm Beach Opera, as the Rabbi in the world
premiere of Enemies, A Love Story. Continuing
his commitment to new music, he also appeared in the workshop and
acclaimed world premiere of Matthew Aucoin's Crossing: A
New American Opera with American Repertory
Theater. Additionally, he returned to Boston Lyric
Opera as the Baron Duphol in La Traviata.
The baritone's 2013-204 season brought a company debut
with Dallas Opera to reprise the role of United Nations
in Death and the Powers, the role of Frederik in
Sondheim's A Little Night
Music with Emmanuel Music, as well as performances
with Boston Lyric Opera as both the Speaker
in Die Zauberflöte and Marullo
in Rigoletto. His concert performances
included Mohammed Fairouz's Symphony No. 3 (Poems and
Prayers) with the UCLA Philharmonic, and A
Sea Symphony, with the Pioneer Valley Symphony Orchestra.
He closed the season as La Rocca in Un giorno di
Regno with Odyssey Opera in their inaugural
season, followed by debuting the role of Tevye in Fiddler
on the Roof with Ash Lawn Opera.
The baritone's 2012-2013 calendar included appearances with
the Boston Symphony Orchestra, for Le
rossignol under the baton of Charles Dutoit; The
English Concert, as Farasmane
in Radamisto at Carnegie Hall; Boston
Pops, for holiday concerts conducted by Keith Lockhart; Boston
Lyric Opera, for Abraham in the North American premiere of
MacMillan's Clemency; the Lyric Opera of Kansas
City, for his debut, as Poo-Bah in The
Mikado; Boston Modern Orchestra Project, for King Fisher
in a concert performance of The Midsummer
Marriage; Chautauqua Opera, for Captain Balstrode
in Peter Grimes, and the Tanglewood Music
Festival, for Nick in Emmanuel Music's production of
Harbison's The Great Gatsby. Additionally, Mr.
Kravitz created the role of Davis Miller in the world premiere of
D.J. Sparr's Approaching Ali at Washington
In autumn of 2011, Mr. Kravitz made his debut
with Florentine Opera as Ping in Turandot,
and appeared with The Washington Chorus, for
Wachner's Come My Dark Eyed One and
Mozart's Mass in C Minor. He continues the season as
Melchior in Amahl and the Night
Visitors with The Little Orchestra Society at
Avery Fisher Hall; Dr. Falke in Die
Fledermaus with Opera Memphis; Lord Salt
in The Golden Ticket with Atlanta Opera;
and Cosimo in John Musto's The Inspector
with Boston Lyric Opera.
In the 2010-2011 season, Mr. Kravitz sang the Businessman
in Intermezzo for his debut at New York
City Opera, and appeared as the United Nations Delegate in the
world premiere of Tod Machover's Death and the
Powers at Opéra de Monte-Carlo, with subsequent
performances of the work that season at Chicago Opera
Theater and in Boston in a production by the American
Repertory Theater. He also returned to Opera Boston as
the Provost Marshall and Gold Merchant in Hindemith's rarely
performed Cardillac, sang
Handel's Messiah for his debut with
the Baltimore Symphony Orchestra, covered Matthias Goerne in
Britten's War Requiem with the Saito Kinen
Festival under Seiji Ozawa, performed Pilate in
Bach's St. John Passion with the Boston
Symphony led by Masaaki Suzuki, sang his first
Verdi Requiem, and appeared as Nick Shadow inThe
Rake's Progress with Emmanuel Music. He closed the
season as Taddeo in L'italiana in
Algeri with Boston Midsummer Opera.
In the summer of 2009, he joined Glimmerglass
Opera for Dr. Grenvil in La traviata and
Mr. Kofner in The Consul. In the 2009-2010 season, he
sang his first Germont in La traviata with
the Pioneer Valley Symphony, joined the Boston Symphony
Orchestra for Elijah (solo bass, covering
Elijah) and MacMillan's St. John Passion
(covering Christus), bowed as Baron Grog in Offenbach's La
Grande-Duchesse de Gérolstein with Opera Boston,
and later traveled to Opera Theatre of Saint Louis for
Lord Salt in the world premiere of The Golden Ticket.
He also sang Raphael in Die
Schöpfung with Emmanuel Music under John
Harbison and Cimarosa's Il maestro di
cappella with Boston Baroque under Martin
Pearlman (a "tour de force," declared the Boston
In the 2008-2009 season, Mr. Kravitz sang Prince Ottokar
in Der Freischütz and Krusina in The
Bartered Bride with Opera Boston, and joined
the Philadelphia Orchestra for
Handel's Messiah. He also garnered rave reviews for
his "resolute power and total connection" (Opera News) in
Bach's St. Matthew Passion with the Boston
Symphony Orchestra under Bernard Haitink.
In the 2007-2008 season he returned to the Boston Symphony
Orchestra under Maestro Levine for Berlioz's Les
Troyens, to Opera Boston for
Handel's Semele, to Opera Theatre of St.
Louis for Martin y Soler's Una Cosa Rara, and
to Boston Baroque for Purcell's King
Arthur. Mr. Kravitz joined the Boston Symphony
Orchestra for Bach's St. Matthew
Passion under Bernard Haitink; he performed
Handel's Messiah in Carnegie Hall; he
joined the Lincoln (NE) Symphony under Edward Polochick
for Bach's St. Matthew Passion; and he returned
to Emmanuel Music for Bach's B Minor Mass,
to the New England Philharmonic for
Mahler's Lieder eines fahrenden Gesellen, and to
the Cantata Singers for Carmina
Burana and for the Boston premieres of Kurt
Weill's Flight of Lindbergh and Charles
Fussell's High Bridge.
Mr. Kravitz's commitment to new music has led to his
presentation of world or regional premieres of numerous
contemporary works. Critics hailed his performance of the leading
role of Leontes in John Harbison's Winter's
Tale with Boston Modern Orchestra Project as
"brilliantly sung" and "a personal triumph." New music engagements
in 2010-2011 include Dominick Argento's song cycle The
Andrée Expedition, newly-commissioned songs by Andy Vores and
James Yannatos, and the world premiere of an oratorio by Kareem
Roustom. In recent seasons, Mr. Kravitz presented the world
premieres of Thomas Whitman's A Scandal in
Bohemia with Orchestra 2001; James
Yannatos's Lear Symphony with
the Harvard-Radcliffe Orchestra; Julian Wachner's My
dark eyed one with Back Bay Chorale; and short
operas by Andy Vores and Theo Loevendie with Boston Musica
Viva. His other recordings include Bach's Cantata BWV
20 and St. John
Passion with Emmanuel Music (Koch International
Classics), and Harbison's Four Psalms and Peter
Child's Estrella with Cantata
Singers (New World).
Before devoting himself full-time to a career in music, Mr.
Kravitz had a distinguished career in the law that included
clerkships with U.S. Supreme Court Justices Sandra Day O'Connor and
Stephen Breyer. He later served as Deputy Legal Counsel to the
Governor of Massachusetts.
David Kravitz, baritone, (Notary)
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David Cushing's versatile bass-baritone range is effortlessly demonstrated in a variety of roles including recent appearances in the title roles of Don Pasquale and Le nozze di Figaro, Frère Laurent in Roméo et Juliette, and Bottom inA Midsummer Night's Dream. Of a recent performance, the Boston Herald exclaimed, "his portrayal of hoodwinked old Pasquale, filled with pathos and unself-conscious humor, was a revelation. He could easily specialize in Italian opera's wealth of foolish-old-man roles and become the basso buffo of his generation." This season, Mr. Cushing will return to Boston Lyric Opera for their production of The Threepenny Opera, as Angelotti in Tosca and Donald in The Nefarious, Immoral But Highly Profitable Enterprise of Mr. Burke & Mr. Hare, sings the title role of Don Pasquale with Bar Harbor Music Festival, performs Banquo in Macbeth and reprises the role of Basilio in Il barbiere di Siviglia with Opera Tampa, Sun Tze in the world première of Rev. 23 with White Snake Projects, and Tiresias in Stravinsky's Oedipus Rex with Emmanuel Musi
David Cushing, bass