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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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German baritone Thomas Johannes Mayer first studied history,
German language and literature, music education and philosophy,
before beginning his vocal training at the College of Music in
Cologne with Liselotte Hammes and Kurt Moll.
Following on from initial engagements in Regensburg and
Darmstadt, Thomas J. Mayer enjoyed acclaim at the municipal theatre
in Basel in the title role of Mozart's opera ›DON GIOVANNI‹ and as
Achilles in Othmar Schoeck's ›PENTHESILEA‹ (director: Hans
Neuenfels). Thomas J. Mayer was also greatly praised when he played
Wotan/Wanderer in Wagner's ›THE RING OF THE NIBELUNG‹ at the
Badisches Staatstheater in Karlsruhe and the title role in
Hindemith's ›MATHIS DER MALER‹. In the 2008/09 season he moved to
the Hamburg State Opera, where he played a number of roles
including the four villains (LES CONTES D'HOFFMANN), Mandryka
(ARABELLA), Kaspar (DER FREISCHÜTZ), Jochanaan (SALOME), Wotan (DIE
WALKÜRE), Rigoletto and Scarpia (TOSCA).
Thomas J. Mayer has been a freelance artist since 2010.
His international career began in the 2007/08 season, playing
the title role in Berg's ›WOZZECK‹ (directed by Jürgen Flimm) at
La Scala in Milan, where he was susequently engaged as Posa for the
new production of ›DON CARLOS‹ in December 2008/09.
Since then, Thomas Johannes Mayer has guested at many opera
houses including De Nederlands Opera in Amsterdam, the theatre in
Basel, the Théâtre Royal de la Monnaie in Brussels, the Deutsche
Oper Berlin, the State Opera Unter den Linden and Komische Oper in
Berlin, the Deutsche Oper am Rhein in Düsseldorf, the Aalto
Theater Essen, the Hamburg State Opera, the opera houses in Cologne
and Leipzig, La Scala in Milan, the Bavarian State Opera in Munich,
the Opéra National de Paris, the New National Theatre Tokyo, Palau
de les Arts Reina Sofia in Valencia, Theater an der Wien, the
Zurich Opera House and at the Bregenz Music Festival, the Herodus
Atticus festival in Athens, the Bayreuth Festival (2012, 2013,
2014) and the Salzburg Festival (2010 and 2011).
Highlights of his career so far have been his Wotan/Wanderer at
the Bavarian State Opera in Munich (musical direction: Kent
Nagano), Wotan at the State Opera Unter den Linden (musical
direction: Daniel Barenboim), his Wotan at the Deutsche Oper in
Berlin (musical direction: Sir Simon Rattle) his Amfortas (musical
direction: Donald Runnicles), his Wotan/Wanderer at the Opéra
National de Paris (musical direction: Philippe Jordan) and his
Wotan (musical direction: Zubin Mehta) in Valencia.
The 2014/2015 season saw Thomas J. Mayer as Barak in DIE FRAU
OHNE SCHATTEN at the Zurich Opera and the Leipzig Opera and singing
the role of Mandryka in Strauss's ARABELLA in a new presentation at
the Munich Opera Festival and returning as Wotan/Wanderer in a
repeat of Wagner's RING DES NIBELUNGEN at the Bavarian State Opera
2015/2016 brought a guest appearance as Wotan in THE RHINEGOLD
with the Odense Symfoniorkester and an acclaimed role debut as
Moses in Schoenberg's MOSES UND ARON at the Opéra National de
Paris. At Munich's Bavarian State Opera, Thomas J. Mayer was back
as Mandryka in ARABELLA, Wotan/Wanderer in Wagner's RING and as
Telramund in LOHENGRIN. The 2016 Bayreuth Festival welcomed him in
the title role of the Dutchman in Wagner's THE FLYING DUTCHMAN.
2016/2017 sees Thomas J. Mayer back with the Odense
Symfoniorkester in a guest appearance as Wanderer in Wagner's
SIEGFRIED, at the Leipzig Opera as Mandryka in ARABELLA and as
Wotan in DIE WALKÜRE, at the Deutsche Oper Berlin as Amfortas in
PARSIFAL and at the Théâtre Royal de la Monnaie Brüssel as
Sharpless in MADAMA BUTTERFLY. At the Opéra National de Paris, Herr
Mayer will be singing Thoas in Gluck's opera IPHIGÉNIE EN TAURIDE,
the parts of Vautrin/Trompe-la-Mort/Jacques Collin in Luca
Francesconi's TROMPE-LA-MORT and Misgir in Rimsky-Korsakov's
SNEGUROCHKA (The Snow Maiden). In a gala performance at the the
State Theatre of Lower Saxony in Hanover he will play the Dutchman
in DER FLIEGENDE HOLLÄNDER. Before Thomas J. Mayer embodies the
Wanderer in SIEGFRIED at the 2017 Bayreuth Festival he will be
making a guest appearance with the Boston Symphony Orchestra as
Wotan in a concert performance of Wagner's RHEINGOLD.
Thomas J. Mayer has worked with famous conductors like Daniel
Barenboim, Daniele Gatti, Philippe Jordan, Zubin Mehta, Kent
Nagano, Andris Nelsons, Sir Simon Rattle, Donald Runnicles, Ulf
Schirmer, Stefan Soltesz, Christian Thielemann and Simone
Thomas J Mayer, bass-baritone (Wotan)
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Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Guilio Cesare; Frugola, Principessa, and Zita in the Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake's Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites; Isabella in L'Italiana in Algeri,, Mistress Quickly in Falstaff, Ino/Juno in Semele, and Orlofsky in Die Fledermaus.
Ms. Blythe has appeared with many of the world's finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, and the Ensemble Orchestre de Paris. She has also appeared at the Tangelwood and Ravinia Festival, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, James Levine, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.
A frequent recitalist, Ms. Blythe has been presented in recital with her collaborative partner, Warren Jones, by Zankel Hall, Lincoln Center's Great Performers Series at Alice Tully Hall, the 92nd Street Y, Town Hall, and the Metropolitan Museum of Art in New York; the Vocal Arts Society and at the Supreme Court at the invitation of Supreme Court Justice Ruth Bader Ginsberg in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, and Shriver Hall in Baltimore.
Ms Blythe has also developed a strong relationship with the composer, Alan Smith. She premiered Vignettes: Ellis Island, a song cycle written especially for her, and has since performed it at the Ravinia Festival and with the Chamber Music Society of Lincoln Center. It was also featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. Ms. Blythe's most recently collaboration with Mr. Smith was Covered Wagon Woman, a piece commissioned for Ms. Blythe's residency with the Chamber Music Society of Lincoln Center and recorded with the ensemble on their own label, CMS Studio Recordings.
Ms Blythe recently starred in the Metropolitan Opera's live HD broadcasts of Orfeo ed Euridice and Il Trittico. Her recordings of works by Mahler, Brahms, and Wagner and of arias by Handel and Bach are available on the Virgin Classics label.
This season, Ms. Blythe appears as Fricka in the Metropolitan Opera's new productions of Das Rheingold and Die Walküre and makes her debut at the Lyric Opera of Chicago in Un Ballo in Maschera and The Mikado. She also appears in concert at the Concertgebouw and with the Collegiate Chorale in Carnegie Hall.
Ms. Blythe was named Musical America's Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award.
Stephanie Blythe, mezzo-soprano
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After initial training and experience as an actor, Kim Begley found his true vocation when he joined the Royal Opera House, Covent Garden as a principal tenor. In six seasons he sang over thirty roles and has since returned as a regular guest in productions such as Wozzeck (Drum Major), Die Walküre (Siegmund), Billy Budd (Captain Vere) and most recently Król Roger (Edrisi), conducted by Music Director Antonio Pappano.
In an illustrious career spanning over three decades, Kim Begley has performed around the world at the highest level and been a regular guest at The Metropolitan Opera, Opera National de Paris, Lyric Opera of Chicago, the Glyndebourne Festival and La Scala Milan to name just a few. In 2000, under the late Giuseppi Sinopoli, Begley made his Bayreuth Festival debut as Loge (Das Rheingold), a role which subsequently became his major calling card and for which he remains in high demand today.
In Kim Begley's earlier career he excelled in Janáček's operas and sang Laca (Jenufa) in numerous productions on both sides of the Atlantic, including as his debut at The Met under Vladimir Jurowski in 2003. He sang his first performances as Florestan (Fidelio) under Sir Simon Rattle at the Glyndebourne Festival and his first Peter Grimes at De Nederlandse Opera with Edo de Waart. Having always enjoyed a strong relationship with English National Opera, Kim Begley has sung principal roles there by Britten, Janáček and Mussorgsky as well as his first portrayal of Parsifal, which saw him nominated for an Olivier Award. In 2011/12, Kim returned to the Coliseum in critically acclaimed performances as Walter in David Pountney's production of Mieczysław Weinberg's The Passenger and as Captain Vere in David Alden's new production of Billy Budd under Edward Gardner.
Recent seasons have seen the addition of further new roles to Kim Begley's already extensive repertoire: Sellem (The Rake's Progress) in Paris under Jeffrey Tate, Bob Boles (Peter Grimes) in San Francisco under Michael Tilson Thomas, Aegisth (Elektra) in Paris under Philippe Jordan, and Fatty (Aufstieg und Fall der Stadt Mahagonny) for Teatro Municipal de Santiago. This season Kim creates the role of Polonius in the world premiere of Brett Dean's Hamlet under Vladimir Jurowski for Glyndebourne Festival, and returns to the role of Mephistopheles (Doktor Faustus) at Semperoper Dresden under Tomas Netopil as well as Aegisth (Elektra) for his company debut with Teatro Municipal São Paulo.
Kim Begley, 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, and Tosca.
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 vocalists.
David Cangelosi, tenor
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The German baritone Jochen
Schmeckenbecher was raised in Hockenheim, and studied with Kurt
Moll at the Musikhochschule Köln. After being a member of the
ensemble at the Theater Hagen and the Komische Oper Berlin he now
is a regular guest of leading opera and concert stages.
The season 2016/17 includes Faninal in a
new production of Rosenkavalier (Andris Nelsons/Robert
Carsen) at the Royal Opera House Covent Garden, his role debut as
Dr. Schön in a new production of Lulu (Kent
Nagano/Christoph Marthaler) at the Staatsoper Hamburg and Klingsor
in a new production of Parsifal
(SemyonBychkov/AlvisHermanis) at the Staatsoper Wien, where he also
will perform again as Alberich and Faninal.
Future plans include his return to the
Opera de Lyon, the Oper Frankfurt and the Staatsoper Wien and his
debuts at the Musikverein Wien and the Grafenegg Festival. In 2017
he will make his role debut as Kaspar/Freischütz.
Jochen Schmeckenbecher focuses on the
German repertoire and thus he sing score-parts like Alberich/Ring
des Nibelungen, Amfortas and Klingsor/Parsifal, Kurwenal/Tristan
und Isolde, Musiklehrer/Ariadne auf Naxos, Faninal/Rosenkavalier,
Peter/Hänsel und Gretel, Pizarro/Fidelio and Wozzeck at the state
operas in Berlin, Dresden, Hamburg and Stuttgart, the Opera
National de Paris, the Met New York, the Scala Milano, the Liceu
Barcelona, the Teatro Real Madrid ans the opera companies in Essen,
Frankfurt, Leipzig, Lyon, San Francisco and Turin.
Furthermore he appeared as Kolenaty/Vec
Makropulos in Paris and at the Salzburger Festspiele, Marquis de la
Force/Dialogues des Carmelite sat the Theater an der Wien and the
Staatsoper München and as the Four Villains/Hoffmanns Erzählungen
at the Volksoper Wien.
Concert performances led him as
Spielmann/Königskinder to the Hamburger Symphoniker in the
Laeiszhalle, as Alberich/Ring des Nibelungen to the
Rundfunk-Sinfonie orchester Berlin in the Philharmonie Berlin, as
Orest/Elektra to the Gulbenkian Orchester in Lissabon, as Kurwenal
to the Radio Filharmonisch Orkest in the Concertgebouw Amsterdam,
as Mauregato in Schuberts Alfonso und Estrella to the
Berliner Philharmoniker in the Philharmonie Berlin and as
Zsupan/Zigeunerbaron to the NDR Radiophilharmonie in Hannover.
In concert he sang a.o. Bauer/Gurrelieder
in the Philharmonie de Paris, Jesus/ Johannespassion in the
Auditorio Nacional in Madrid and in Düsseldorf, Lieder aus Des
Knaben Wunderhorn in the Festspielhaus Bregenz, Beethoven's
9th Symphony in Porto, Brahm's Deutsches Requiem in Paris,
Mahler's 8th Symphony in theMeyerson Center in Dallas,
Janacek's Glagolitic Mass in the Royal Festival Hall in
London ans Cerha's Baal-Gesänge in the Konzerthaus
Jochen Schmeckenbecher, baritone (Alberich)
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Morris Robinson is quickly gaining a reputation as one of the
most interesting and sought after basses performing today.
A graduate of the Metropolitan Opera Lindemann Young Artist
Development Program, Mr. Robinson made his debut at the
Metropolitan Opera in their production
of Fidelio. He has since appeared
there as Sarastro in Die Zauberflöte(both in the
original production and in the children's English version),
Ferrando in Il Trovatore, the
King in Aida, and in roles
in Nabucco, Tannhäuser, and the new
productions of Les Troyens
and Salome. He has also appeared at
the San Francisco Opera, Lyric Opera of Chicago, Dallas Opera,
Houston Grand Opera, Boston Lyric Opera, Pittsburgh Opera,
Opera Philadelphia, Seattle Opera, Los Angeles Opera, Cincinnati
Opera, Boston Lyric Opera, Opera Theater of St. Louis, Vancouver
Opera, Wolf Trap Opera, Opera Australia, and the Aix-en-Provence
Festival. His many roles include Sarastro in Die
Zauberflöte, Osmin in Die Entführung aus dem
Serail, Ramfis in Aida, Zaccaria
in Nabucco, Sparafucile
in Rigoletto, Commendatore in Don
Giovanni, Grand Inquisitor in Don
Carlos, Timur inTurandot, the Bonze
in Madama Butterfly, Padre Guardiano
in La Forza del Destino, Ferrando
in Il Trovatore, and Fasolt
in Das Rheingold.
Also a prolific concert singer, Mr. Robinson has appeared with the
Chicago Symphony Orchestra, Los Angeles Philharmonic Orchestra,
Atlanta Symphony Orchestra, National Symphony Orchestra, Houston
Symphony, L'Orchestre Symphonique de Montreal, Ft. Worth Symphony
Orchestra, Baltimore Symphony, Met Chamber Orchestra, Nashville
Symphony Orchestra, São Paulo Symphony Orchestra, New England
String Ensemble, and at the Ravinia, Mostly Mozart, Tanglewood,
Cincinnati May, Verbier, and Aspen Music Festivals. He also
appeared in Carnegie Hall as part of Jessye
Norman's HONOR! Festival. In recital
he has been presented by Spivey Hall in Atlanta, the Savannah Music
Festival, the National Academy of Sciences in Washington, DC, the
Philadelphia Chamber Music Society, and the Metropolitan Museum of
Art in New York City.
Mr. Robinson's first album, Going
Home, was released on the Decca label. He also
appears as Joe in the newly released DVD of the San Francisco Opera
production of Show Boat.
This season, Mr. Robinson returns to the Los Angeles Opera as
Oroveso in Norma and the Dallas Opera
as Joe inShow Boat. He also appears in
concert with the Los Angeles Master Chorale, Milwaukee Symphony,
and Baltimore Symphony, and as the Atlanta Symphony Orchestra's
2015-2016 Artist in Residence, he appears in several concerts and
recitals throughout the season. And in the fall of 2016, he makes
his debut at the Teatro alla Scala in the title role
of Porgy and Bess conducted by
An Atlanta native, Mr. Robinson is a graduate of The Citadel and
received his musical training from the Boston University Opera
Morris Robinson, bass-baritone (Fasolt)
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Hailed by The Guardian as "one of the great Wagner basses of our time" Ain Anger made his Bayreuth Festival debut as Fafner in Das Rheingold and Siegfried under Christian Thielemann before singing Hunding in new Ring Cycles at Bayerische Staatsoper (Kent Nagano), Wiener Staatsoper (Franz Welser-Möst) and Oper Frankfurt (Sebastian Weigle). He made an acclaimed debut at Teatro alla Scala as Daland (Der fliegende Holländer) under Hartmut Haenchen, sang Pogner in San Francisco's production of Die Meistersinger von Nürnberg under Sir Mark Elder and joined Deutsche Oper Berlin at the BBC Proms in Tannhauser under Donald Runnicles.
A mainstay of the Wiener Staatsoper stage since his house debut as Monterone (Rigoletto) in 2004, Ain Anger has now sung more than forty roles there ranging from Dosifei (Khovanshchina), Koenig Heinrich (Lohengrin) and Philippe II (Don Carlos) to Pogner (Die Meistersinger von Nürnberg), Zaccaria (Nabucco) and Fiesco (Simon Boccanegra).
Ain Anger's current season includes two anticipated roles debuts: Boris Godunov for Deutsche Oper Berlin under Kirill Karabits and Hagen in Tim Albery's production of Götterdämmerung at the Canadian Opera Company under Music Director, Johannes Debus. Elsewhere in the season, Anger joins Christian Thielemann as Fafner (Das Rheingold) at Semperoper Dresden, and Adam Fischer as Hunding (Die Walküre) at Wiener Staatsoper, both subsequently touring to Japan.
Recent highlights include a unanimously praised debut at the Royal Opera House, Covent Garden as Pimen in Richard Jones' new production of Boris Godunov under Sir Antonio Pappano, and as Cardinal Brogni in Calixto Bieito's new production of La Juive at Bayerische Staatsoper, conducted by Bertrand de Billy. At Washington National Opera, Ain Anger appeared as Daland under Philippe Auguin, and has appeared in productions of both Tannhauser and Lohengrin at Deutsche Oper Berlin.
On the concert platform, Ain Anger has recently performed Mussorgsky's Songs and Dances of Death with the Scottish Chamber Orchestra (Olari Elts), Mahler's Symphony No.8 with Symphonieorchester des Bayerischen Rundfunks (Mariss Jansons), Verdi's Messa da Requiem with Sydney Symphony Orchestra (David Robertson) and Dallas Symphony Orchestra (Jaap van Zweden), as well as Beethoven's Symphony No.9 with Gewandhausorchester Leipzig (Riccardo Chailly).
Trained at Tallin's Academy of Music, Ain Anger began his career in his native Estonia before joining the ensembles of Oper Leipzig, Staatsoper Hamburg and subsequently Wiener Staatsoper.
Ain Anger, bass
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Born in Sweden, soprano Malin
Christensson studied at the Royal College of
Highlights in her 2016/17 season include
Fauré's Requiem with the Royal Northern Sinfonia and
Alexandre Bloch, Bach's Mass in B Minor and
Mahler's Symphony no. 2 with the Boston Symphony
Orchestra and Andris Nelsons and
Handel's Messiah with the Orquesta Sinfónica de
Galicia and Paul Goodwin and in staged performances for the
Recent engagements have included Susanna in staged performances
of Le nozze di Figaro with the Los Angeles
Philharmonic Orchestra conducted by Dudamel and with the Gulbenkain
Orchestra under McCreesh; Zerlina Don
Giovanni for the Houston Grand Opera and at the Helsinki
Festival; Bach's Weihnachts-Oratorium with the
Leipzig Gewandhausorchester and Pinnock,
the Matthäus-Passion with the Philadelphia
Orchestra and Nézet-Séguin, Mozart's Mass in C Minor
with the CBSO and Nelsons and Beethoven's Symphony no.
9 with the Swedish Radio Orchestra and
Appearances in opera have also included Barbarina Le
nozze di Figaro at the Salzburg Festival and Susanna at the
Aix-en-Provence Festival and in Santiago di Chile;
Sophie Werther at the Festspielhaus Baden-Baden;
Miss Wordsworth Albert Herring at the
Glyndebourne Festival; Marzelline Fidelio at the
Beethoven Festival in Warsaw; Flower
Maiden Parsifal at Covent Garden; Drusilla
L'incoronazione di Poppea at the Drottningholms
Slottsteater and Papagena Die Zauberflöte at the
Théâtre du Châtalet, in Montpellier and at the Vienna
She has also appeared at the BBC Proms and at the Lucerne and
Daytona Festivals and her recent highlights have included the
London Symphony Orchestra with Harding; the BBC Symphony Orchestra
with Bělohlávek; the Orchestra of the Age of Enlightenment with
Jacobs, Labadie and Leonhardt; the Philharmonia Orchestra with John
Wilson, the Gävle Symfoni Orkester with Søndergård; the Royal
Scottish National Orchestra with Denève and the Scottish Chamber
In recital she works regularly with Simon Lepper, Malcolm
Martineau and Roger Vignoles and her appearances include London's
Wigmore Hall, the Laeiszhalle in Hamburg, the Tonhalle in Zurich
and the Innsbruck, Cheltenham, Bath Mozart and Oxford Lieder
Malin Christensson, soprano (Freia)
Jacqueline Echols, soprano
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Catherine Martin has been praised by The Washington
Post for her "gorgeous, warm voice that you want to keep
listening to," and she continues to make an impact in repertoire
ranging from Verdi and Wagner to Strauss and Bellini.
Her 2016-2017 season begins in Taiwan at
the National Taichung Theatre reviving Wellgunde in Das
Rheingoldwith the La Fura dels Baus production team, a debut
with Lyric Opera of Chicago singing Hécube and covering Didon in
Les Troyens, a concert with The Dallas Opera at the Winspear Opera
House, as well as the final installment of
the Ring Cycle at Houston Grand Opera, singing
Wellgunde in Götterdämmerung with La Fura dels
The 2015-2016 season included debuts with
Opera Colorado in her signature role of Amneris
in Aïda and a role debut with Florida Grand
Opera as Adalgisa in Norma, a return to Washington
National Opera as Wellgunde in Das
Rheingold and Götterdämmerung and
Grimgerde in Die Walküre.
Engagements for the 2014-2015 season
included her debut with Dayton Opera as Sister Helen Prejean
in Dead Man Walking, Waltraute in Die
Walküre with Houston Grand Opera, a return to Opera Santa
Barbara as Maddalena in Rigoletto, and Genevieve
in Hindemith's The Long Christmas Dinner with
the American Symphony Orchestra at Alice Tully Hall.
Her landmark 2013-2014 season included
two important assignments for Houston Grand Opera: Amneris in its
season-opening production of Aïda, filling in at the
last minute for an indisposed artist, and her role debut as
Wellgunde in Das Rheingold for the company's
first-ever Ring cycle. Adding several key
Strauss roles to her repertoire, she made her role debut
as Der Komponist in Ariadne auf Naxos at
The Glimmerglass Festival and sang Annina and covered Octavian
in Der Rosenkavalier with the National Symphony
Orchestra at the Kennedy Center. Other performances included Mary
in the world premiere Jeanine Tesori's The Lion, the
Unicorn, and Me with Washington National Opera, Amneris
for her debut with Opera Santa Barbara, leading roles in the double
bill of Musto's Bastianello and
Bolcom's Lucrezia at UrbanArias outside
Washington, D.C., and Schubert's Mirjams
Siegesgesang with the San Antonio Symphony.
Other highlights from 2013 included the
role of Sara Miller in the world premiere of Approaching
Ali with Washington National Opera, performances in the
Steans Music Institute at the Ravinia Festival, her debut with the
New Haven Symphony performing Elgar's rarely heard
masterwork The Dream of Gerontius, and her debut with
Vancouver's West Coast Chamber Players singing Alan L. Smith's
Vignettes: Covered Wagon Woman.
An alumna of the Houston Grand Opera
Studio, Catherine spent three seasons from 2009-2012 performing
roles such as Dorabella in Così fan
tutte, Suzuki in Madama
Butterfly, Anna in Maria Stuarda, Flora
in La traviata, Berta inIl barbiere di
Siviglia, and Dryad in Ariadne auf Naxos. She
also had the opportunity to work extensively with conductor Patrick
Summers and to cover artists such as Susan Graham, Joyce DiDonato,
and Michelle DeYoungin roles such as Der Komponist, Sister
Helen, and the title roles
of Xerxes and The Rape of Lucretia. In 2012
she was a member of The Glimmerglass Festival Young Artists
Program, making her role debut as Amneris. In 2011 and 2010 she was
a Filene Young Artist with Wolf Trap Opera, where her roles
included Nicklausse in Les contes d'Hoffmann, Hermia
in A Midsummer Night's Dream, Zaida in Il
turco in Italia, plus multiple recitals with accompanist and
vocal coach Steven Blier.
Winner of the 2011 National Opera
Association Competition, Catherine was a semi-finalist in the 2012
Metropolitan Opera National Council Auditions, a finalist in the
2012 George London Competition, a 2nd place winner in the 2013
Jensen Competition, a semi-finalist in the 2013 Hans Belvedere
Competition, and won awards in the Eleanor McCollum Competition at
Houston Grand Opera, The Dallas Opera Guild, Annapolis Opera. She
has received The Richard F Gold Career Grant at both Houston Grand
Opera and Wolf Trap, and the Catherine Filene Shouse Career Grant.
A native of San Antonio, Texas, she holds a master's degree from
the University of Cincinnati, College-Conservatory of Music and a
bachelor's degree in vocal performance from the University of North
Catherine Martin, mezzo-soprano (Wellgunde)
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Noted for her "commanding and dramatic presence" (Opera
News), mezzo-soprano Renée Tatum opens the 2014-15 season with
a return to the Metropolitan Opera as the Second Lady in Julie
Taymor's production of Die Zauberflöte led by Ádám
Fischer. She also returns to Houston Grand Opera both as
Third Lady in Die Zauberflöte under the baton of Robert
Spano and as Grimgerde in a new production of Die Walküre
conducted by Artistic and Music Director Patrick Summers.
Last season, the California native made her Houston Grand Opera
debut as Wellgunde in Das Rheingold led by Patrick
Summers, and made role debuts as Suzuki in Madama
Butterfly with Chautauqua Opera and as Rosina in Il
baribiere di Siviglia with Opera Las Vegas. Concert
appearances included Salome with Andris Nelsons and the
Boston Symphony Orchestra, Mozart's Requiem with Music Director
Daniel Stewart and the Santa Cruz Symphony, and Beethoven's Ninth
Symphony with conductor Daniel Wachs and the Orange County
A recent alumna of the Lindemann Young Artist Development
Program, Miss Tatum's Metropolitan Opera performances include
The Magic Flute conducted by Jane Glover, Rusalka
led by Yannick Nézet-Séguin, Die Frau ohne Schatten with
Vladimir Jurowski, Otello under the baton of Semyon
Bychkov, Zandonai's seldom heard Francesca da Rimini
conducted by Marco Armiliato, Fenena in Nabucco with Paolo
Carignani, and Flosshilde in Robert Lepage's landmark production of
Der Ring des Nibelungen conducted by Fabio Luisi.
Miss Tatum made her Metropolitan Opera debut in the 2010-11
season as Inez in Il trovatore conducted by Marco
Armiliato. Highlights of the recent past also have featured
the artist as Háta in Smetana's The Bartered Bride in a
new production by Stephen Wadsworth, led by James Levine, in a
collaboration between the Metropolitan Opera and the Juilliard
School, and in the roles of Flosshilde and Grimgerde in San
Francisco Opera's Der Ring des Nibelungen conducted by
Donald Runnicles. Other performances include La Haine in
Gluck's Armide in a co-production between the Metropolitan
Opera and the Juilliard School and the role of Medea in Handel's
Teseo with Chicago Opera Theater. As a member of the
Adler Fellowship program, her San Francisco Opera performances have
included Inez in Il trovatore, Annina in La
traviata, and Emilia in Otello.
She has sung Third Lady in Die Zauberflöte with the
Santa Fe Opera conducted by Lawrence Renes and in a new production
at San Francisco Opera led by Rory Macdonald, Amando in Ligeti's
Le Grand Macabre with the New York Philharmonic conducted
by Alan Gilbert, and The Secretary in Menotti's The Consul
with Chautauqua Opera.
Ms. Tatum is a winner of the 2011 Gerda Lissner Foundation
Competition, a finalist of the 2011 George London Foundation
Competition, 2010 Grand Prize Winner of The Licia Albanese Puccini
Foundation Competition, The Opera Index Competition, The Jensen
Foundation Award from Chautauqua Opera, and two-time recipient of
the Richard F. Gold Career Grant. A Regional Finalist in the
Metropolitan Opera National Council Auditions, Ms. Tatum holds
degrees from The Juilliard School and The Manhattan School of
Renée Tatum, mezzo-soprano (Flosshilde)
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Irish mezzo-soprano Patricia Bardon is the youngest ever prize-winner of the Cardiff Singer of the World Competition and is in demand for repertoire ranging from the Baroque through to Rossini and Wagner. Her distinguished career has brought numerous opportunities to collaborate in both opera and concert with a wide range of conductors such as James Levine, Zubin Mehta, Bernard Haitink, Sir Antonio Pappano, Sir Mark Elder, Christophe Rousset, Esa-Pekka Salonen, Alberto Zedda, Fabio Luisi, Harry Bicket, Ivor Bolton, Christoph Eschenbach, William Christie, Pinchas Zuckerman, Ingo Metzmacher, Sir Charles Mackerras, and Rene Jacobs.
Highlights of the 2016/17 season include Principessa in Puccini Suor Angelica for Opera North, and Arsace in Handel Partenope at English National Opera. In concert Bardon can be seen in a performance of Mahler Symphony No. 8 with the London Philharmonic Orchestra under Vladimir Jurowski, and Mahler Kindertotenlieder with the RTE National Symphony Orchestra in her native Dublin. She will also perform Mahler Symphony No. 2 in Florence, with Fabio Luisi.
Last season's highlights included title role Agrippina at Theater an der Wien, title role in Porporo Germanico in Germania at the Innsbruck Festival of Early Music, Mary in John Adams Gospel according to the other Mary with the Netherlands Radio Philharmonic, Mendelssohn Elijah with the Royal Liverpool Philharmonic, Mahler Symphony No.2 with the RTÉ National Symphony Orchestra, and Handel Messiah with the Royal Philharmonic Orchestra, Le Concert Spirituel, and RLPO.
Having studied in Dublin with Dr Veronica Dunne, Bardon's career embraces an impressive diversity of roles: Erda in the Grammy-award-winning production of Der Ring des Nibelungen at The Metropolitan Opera (DVD/Deutsche Grammophon), La Nourrice Ariane et Barbe Bleu for Gran Teatre del Liceu, Barcelona (DVD/Opus Arte), her highly-acclaimed interpretation of Azucena Il trovatore at Welsh National Opera, her creation of the title role in Saariaho's Adriana Mater for Opera national de Paris, her glowing reviews last season for Carmen in Los Angeles, conducted by Placido Domingo - a role she has recorded for Chandos - and her Laurence Olivier Nomination for Maurya Riders to the Seaat ENO are all testament to an exceptional
An acclaimed Baroque and bel canto singer, highlights have included the title roles in Giulio Cesare at The Liceu Barcelona, Orlando for the Opéra National de Paris (CD/Erato), Rinaldo for Oper Köln as well as Cornelia Giulio Cesare for Bayerische Staatsoper, The Metropolitan Opera, ENO and Glyndebourne Festival Opera (DVD/Opus Arte). She has sung Rosmira Partenope for Lyric Opera of Chicago, Teater an der Wien and ENO (Olivier nomination for Outstanding Achievement in Opera), Andronico Tamerlano in Los Angeles, Washington DC, Amsterdam and Madrid; Bradamante Alcina in Drottingholm and Moscow, Penelope Il ritorno d'Ulisse in patria for Maggio Musicale Florence, Amsterdam, Berlin Staatsoper and Athens; Ruggiero Alcina for Trieste and Montpellier, Amastras Xerxes for Montpellier, Dresden and Munich Staatsoper (DVD Opus Arte), Juno Semelefor ENO and Innsbrook, Ottavia L'incoronazione di Poppea in Oslo (DVD/EuroArts) and most recently Zenobia Radamisto for Theater an der Wien and at Carnegie Hall.
Bel canto highlights include Tancredi and Arsace Semiramide for La Fenice, Calbo Il Maometto Secondo for Santa Fe Opera, Smeaton Anna Bolena for San Francisco Opera, title role La Cenerentola for La Monnaie, Andromache Ermione Festival Hall (CD/Opera Rara), Malcolm La donna del Lago for the Edinburgh International Festival (CD/Opera Rara).
Enjoying an ongoing relationship with the Royal Opera House Covent Garden, Bardon has appeared there in productions of Guillaume Tell, Mefistofele, Rigoletto, Moise in Egitto, The Rake's Progress (earning an Olivier nomination) and most recently in Richard Jones' acclaimed staging of Britten Gloriana (DVD).
Bardon has extensive concert experience and has performed with many of the world's leading Orchestras including The New York Philharmonic, Orchestra of the Age of Enlightenment, Berlin Symphony Orchestra, Philharmonia, BBC Philharmonic, St Louis Symphony Orchestra, Accademia Nazionale di Santa Cecilia, Les Arts Florissants, Freiburg Baroque Orchestra, Concerto Koln, Academy of Ancient Music, Les Talens Lirique, The Halle Orchestra, Le Concert Spirituel, English Chamber Orchestra, RTE Symphony Orchestra, RTE Concert Orchestra, The English Concert, Filarmonica della Scala, Cincinnati Symphony Orchestra, Orchestra de RAI, and Orchestra de Paris, in repertoire including the Bach Passions, Schoenberg's Gurrelieder, Verdi Messa di Requiem, Handel Oratorios, Wagner Wiesendonk Lieder and the Mahler Symphonies.
Patricia Bardon, contralto
David Butt Philip, tenor (Froh)
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American bass-baritone Ryan McKinny makes his Boston Symphony
Orchestra debut as Donner in Das Rheingold. Next season,
he will debut at the San Francisco Opera in the world premiere of
John Adams' Girls of the Golden West in a production by
Peter Sellars and will sing his first performances of Mandryka ina
new production of Arabella directed by Uwe Laufenberg at
Staatstheater Wiesbaden. With the San Francisco Symphony, he will
sing Bernstein's Arias and Barcarolles with Michael Tilson
Thomas and will return to Santa Fe Opera as J. Robert Oppenheimer
in John Adams' Dr. Atomic.
He made a highly acclaimed Bayreuth Festival debut as Amfortas
in a new production of Parsifal by Uwe Laufenberg, a role
he also sang for his debut at Teatro Colòn in Buenos Aires.
Other recent performances include a return to the Metropolitan
Opera as Biterolf in Tannhäuser under James Levine which
was broadcast around the world in HD and Kurwenal in Trisan und
Isolde at the Detusche Oper Berlin under Donald
Runnicles. He debuted at the Washington National Opera as
Donner and Gunther in Der Ring des Nibelungen and returned
to the Hamburg Opera for his first European performances of Der
fliegende Holländer. Mr. McKinny was the first recipient of
the Birgit Nilsson Prize for singing Wagner at Plácido Domingo's
Operalia Competition held at Teatro alla Scala in Milan and the
Kirsten Flagstad/George London Award from the George London
Foundation. He also represented the United States in the 2007
BBC Cardiff Singer of the World Competition, where he was a
finalist in the Rosenblatt Recital Song Prize. He was a Grand
Finalist in the 2007 Metropolitan Opera National Council Auditions
and is featured in the film The Audition released by Decca
Ryan McKinny, baritone (Donner)