James Conlon Concert
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A celebration 20 years in the making
At a Glance
- Conlon conducts extraordinary music by Mozart, Verdi and Wagner
- Enjoy extended excerpts from The Marriage of Figaro, La Forza del Destino and Die Meistersinger von Nürnberg with a host of our favorite singers and the LA Opera Orchestra and Chorus
- Celebrate James Conlon’s transformative tenure LA Opera's Music Director
James Conlon has made tremendous contributions to the musical life of Los Angeles over his remarkable 20-year tenure as the company’s Richard Seaver Music Director. Join us in celebrating his legacy at a special concert devoted to the work of three of his favorite opera composers: Mozart, Verdi, and Wagner. Spend an evening with Maestro Conlon’s mastery and the signature sound inspired by his close relationship with the LA Opera Orchestra, along with an array of exceptional artists.
The concert will be followed by a gala dinner and celebration on the stage of the Dorothy Chandler Pavilion. This very special evening will offer a unique opportunity for the LA Opera family to honor Maestro Conlon and celebrate his extraordinary achievements. Gala tickets are sold separately.
Following the concert, join us for a celebratory gala on stage of the Dorothy Chandler Pavilion. For Gala ticket pricing and other information, contact us at 213.972.3620 or specialevents@LAOpera.org.
"He has long been one of classical music's most compelling advocates, but somewhere along the way, Conlon has fully assumed the mantle of the most accomplished music director currently on the podium of an American opera house."
—Opera News
"One of America's leading conductors"
—The New York Times
From: New York City, New York. LA Opera: La Traviata (2006, debut). As of the end of 2023/24 season, he had conducted 68 different operas and 469 performances with the company to date. He has been Music Director of the company since 2006 and will serve as in that position until the end of his 20th season in 2026, at which time he will become Conductor Laureate.
Photo: Bonnie Perkinson
Internationally recognized as one of today’s most versatile and respected conductors, James Conlon has cultivated a vast symphonic, operatic and choral repertoire. Since his 1974 debut with the New York Philharmonic, he has conducted virtually every major American and European symphony orchestra, and at many of the world’s leading opera houses including the Metropolitan Opera. Through worldwide touring, an extensive discography and filmography, numerous writings, television appearances, and guest speaking engagements, Conlon is one of classical music’s most recognized and prolific figures.
He was previously Principal Conductor of the RAI National Symphony Orchestra in Torino, Italy (2016–20); Principal Conductor of the Paris Opera (1995–2004); General Music Director of the City of Cologne, Germany (1989–2003), simultaneously leading the Gürzenich Orchestra and the Cologne Opera; and Music Director of the Rotterdam Philharmonic Orchestra (1983–91). He was Music Director of the Ravinia Festival (2005–15), summer home of the Chicago Symphony, and is now Music Director Laureate of the Cincinnati May Festival―the oldest Choral Festival in the United States―where he was Music Director for 37 years (1979–2016), marking one of the longest tenures of any director of an American classical music institution. He also served as Artistic Advisor of the Baltimore Symphony Orchestra (2021–2023).
He has conducted over 270 performances at the Metropolitan Opera since his 1976 debut. He has also conducted at leading opera houses and festivals such as the Wiener Staatsoper, Salzburg Festival, La Scala, Teatro dell’Opera di Roma, Mariinsky Theatre, Covent Garden, Chicago Lyric Opera, Deutsche Oper Berlin, Teatro Comunale di Bologna, and Teatro del Maggio Musicale Fiorentino.
As Music Director of LA Opera, Conlon has led more operas than any other conductor in company history. Highlights of his LA Opera tenure include the company’s first Ring cycle; initiating the groundbreaking Recovered Voices series, an ongoing commitment to staging masterpieces of 20th-century European opera suppressed by the Third Reich; spearheading Britten 100/LA, a city-wide celebration honoring the composer’s centennial; and conducting the West Coast premiere of The Anonymous Lover by Joseph Bologne, Chevalier de Saint-Georges, a prominent Black composer in 18th-century France.
Conlon is dedicated to bringing composers silenced by the Nazi regime to more widespread attention, often programming this lesser-known repertoire throughout Europe and North America. In 1999 he received the Vienna-based Zemlinsky Prize for his work bringing the composer’s music to a broader audience; in 2013 he was awarded the Roger E. Joseph Prize at Hebrew Union College-Jewish Institute of Religion for his efforts to eradicate racial and religious prejudice and discrimination; and in 2007 he received the Crystal Globe Award from the Anti-Defamation League. His work on behalf of silenced composers led to the creation of The OREL Foundation, an invaluable resource on the topic for music lovers, students, musicians, and scholars; the Ziering-Conlon Initiative for Recovered Voices at the Colburn School; and a recent virtual TEDx Talk titled “Resurrecting Forbidden Music.”
Conlon is deeply invested in the role of music in civic life and the human experience. At LA Opera, his popular pre-performance talks blend musicology, literary studies, history, and social sciences to discuss the enduring power and relevance of opera and classical music. He also frequently collaborates with universities, museums, and other cultural institutions and works with scholars, practitioners, and community members across disciplines. He frequently appears throughout the country as a speaker on a variety of cultural and educational topics.
Conlon’s extensive discography and filmography spans the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and for Kurt Weill’s Rise and Fall of the City of Mahagonny. Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus.
Conlon holds four honorary doctorates, was one of the first five recipients of the Opera News Awards, and was distinguished by the New York Public Library as a Library Lion. He received a 2023 Cross of Honor for Science and Art (Österreichische Ehrenkreuz für Wissenschaft und Kunst) from the Republic of Austria, and was named Commendatore Ordine al Merito della Repubblica Italiana by Sergio Mattarella, President of the Italian Republic. He was also named Commandeur de L’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2002, personally accepted France’s highest honor, the Legion d’Honneur, from then-President of the French Republic Jacques Chirac.
Learn more at JamesConlon.com.
Soprano Nicole Heaston has appeared with opera companies throughout the world, including the Metropolitan Opera, Houston Grand Opera, San Francisco Opera, Dallas Opera, Washington National Opera, Semperoper Dresden and the Glyndebourne Festival in England.
To begin the 2024/25 season, the soprano returned to the role of Claire Devon in the North American premiere of Missy Mazzoli’s The Listeners at Opera Philadelphia. She headlines Lyric Opera of Chicago's spring 2025 performances of that opera, making her company debut. With the National Symphony Orchestra, she sings the title role in Samuel Barber's Vanessa. Other engagements during the season include a Christmas program with Houston’s Mercury Chamber Orchestra and the role of Armida in Detroit Opera’s production of Handel’s Rinaldo.
A richly varied 2023/24 season included her returns to LA Opera as Mary in William Grant Still’s Highway 1, USA and to Houston Grand Opera as Alice Ford in Falstaff. With Philharmonia Baroque, she sang the unique combination of Anna/Dido in Errollyn Wallen’s Dido’s Ghost and Dido in Purcell’s Dido and Aeneas. During the spring of 2024, she made an anticipated role debut as Thaïs with Utah Opera.
She began the 2022/23 season with the world premiere of Missy Mazzoli’s The Listeners at the Norwegian Opera. She also sang Amore in Orfeo ed Euridice with San Francisco Opera and the Countess in The Marriage of Figaro with Houston Grand Opera.
Learn more at NicoleHeaston.com.
In 2025, in addition to her LAO appearances, she made her role debut as Micaëla in Carmen with Canada's Brott Music Festival and was the winner of the Orchestre Symphonique de Montréal competition.
In 2024, she joined Des Moines Metro Opera as an apprentice artist, making her debut there as the Slave in Salome and also covering the role of Mélisande in Pelléas et Mélisande.
She has been a young artist at the Aspen Music Festival, the Ravinia Steans Music Institute, and was a 2023 finalist in Houston Grand Opera’s Eleanor McCollum Competition.
In the spring of 2024, she earned her master's degree from the Cincinnati Conservatory of Music, where she performed the title role in The Cunning Little Vixen and Blanche de la Force in Dialogues des Carmélites. She earned an undergraduate degree in vocal performance at the University of Toronto.
From: Seoul, South Korea. LA Opera: Suzuki in Madama Butterfly (2024, debut).
Lauded by the New York Times as a “vibrant mezzo soprano” and a “dark toned, agile mezzo-soprano,” Hyona Kim joined the Dortmund Opera in Germany as a member of the ensemble in 2018 and made her much acclaimed house and role debut singing Amneris in Aïda. Other parts that she performed at the Dortmund Opera are Suzuki in Madama Butterfly, Tzippie in Oliver Knussen’s Where The Wild Things Are and the title role in the German premiere of Frédégonde by Ernest Guiraud, Paul Dukas and Camille Saint-Saëns, Ortrud in Lohengrin and Nancy Tang in Nixon in China. Kim joined the Metropolitan Opera for the 2022/23 season covering the role of Eboli in Don Carlo. She made her San Francisco Opera debut singing a leading role, Lady Wang in Bright Sheng’s world premiere Dream of the Red Chamber under George Manahan in 2016 and was critically acclaimed as an “Unstoppable powerhouse” by the San Francisco Chronicle and performed the same role with Hong Kong Arts Festival under Muhai Tang. She returned to San Francisco Opera for the revival of Dream of the Red Chamber and for Madama Butterfly.
She has also sung with the New York City Opera, Romanian National Opera Cluj-Napoca, Opera Carolina, Opera Lancaster, Opera Company of Middlebury among others. Other roles which she has performed around the world include Azucena in Il Trovatore, Mistress Quickly in Falstaff, Hermia in A Midsummer Night’s Dream, Wowkle in The Girl of the Golden West, Olga and Larina in Eugene Onegin and many more.
Hyona Kim was a national finalist in the Metropolitan Opera National Council Auditions and performed with the Metropolitan Opera Orchestra conducted by Marco Armiliato at Lincoln Center. She also was the grand winner of the Joy in Singing Competition and performed the winner’s solo recital at Merkin Concert Hall in New York City. She was a first prize winner of the Gerda Lissner Competition, and a multiple grant winner at the Licia Albanese-Puccini and Giulio Gari Competitions. She is a grant recipient of the Olga Forrai Foundation and won the Jennie Tourel prize in the Poulenc Competition. She also won the Suri Competition and the Schubert Lied Competition in her native country, South Korea, where she earned her bachelor’s degree at Ewha Womans University. She received her master’s degree and professional studies diploma from Mannes College of Music in New York City and was chosen to be the recipient of the Marian Marcus Wahl Memorial Award, awarded to a graduating singer showing particular excellence. During her time as a member of the Mannes Opera, she performed many roles with the Metropolitan Opera conductor Joseph Colaneri such as Dorabella in Cosi fan tutte, Marcellina in The Marriage of Figaro and Annina in La Traviata.
Apart from the Mannes College of Music, she has participated in many festivals and projects, including the Aspen Music Festival, the Music Academy of the West, International Vocal Arts Institute, the Natchez Music Festival and the Martina Arroyo Foundation. She made her Houston Grand Opera debut originating the role of Hal-Mo-Ni (grandmother) in Jeeyoung Kim’s From My Mother’s Mother at HGOco, and also has performed the lead role, Lily in Su Lian Tan’s opera Lotus Lives at Distler Hall at Tufts University in Boston. Kim has sung with the Nashville Symphony and the Sinfonia da Camera as the soloist in Handel’s Messiah and Verdi’s Requiem respectively.
She made her Carnegie Hall debut with New England Symphonic Ensemble singing the alto solo in Vivaldi’s Gloria and also performed with PyeongChang Music Festival in South Korea as the alto soloist in Beethoven’s Symphony No. 9. She was invited by Harare International Festival of the Arts in Zimbabwe for an opera gala concert and song recital. She was the featured alto soloist in numerous concerts including performances of Bach’s St. John Passion, St. Matthew Passion and Mendelssohn’s Elijah. Passionate about chamber music and art song, Ms. Kim has appeared in many chamber music concerts and recitals with Mannes Baroque Chamber Players, the Guinnes Quartet as part of Viva Virginia International Festival of Music, and also in several concerts of Ensemble 212, in works such as: Mahler’s Symphony No. 2 and No. 3, world premieres for Chamber Orchestra both by Yoon Jae Lee, and Der Abschied from Das Lied von der Erde featured with Michael Mao Dance. She has participated in Stephanie Blythe and Alan Smith’s Fall Island Vocal Arts Seminar which only performs art songs by living American composers. Kim also has sung with Brooklyn Art Song Society in their concert series of Les six: Francis Poulenc and Songs of Mahler. Upcoming engagements include a house debut at the Royal Danish National Opera in Copenhagen as Suzuki in Madama Butterfly as well as the Belgrade Philharmonic Orchestra in Serbia in the same role. Her Metropolitan Opera return includes participation in the production of Tannhäuser.
Learn more at KimHyona.com.
From: Grass Valley, California. LA Opera: soloist in Frankenstein with Live Orchestra (2022); Lucretia in The Rape of Lucretia (2023); Jocabed in Moses (2023); Emilia in Otello (2023, mainstage debut); Third Frida Image in Frida y Diego (2023); Third Maid in The Dwarf (2024); Flora in La Traviata (2024); Maddalena in Rigoletto (2025). She is an alumna of the Domingo-Colburn-Stein Young Artist Program (2022-24).
Mexican-American mezzo-soprano Sarah Saturnino is quickly becoming known for her versatility and “range of vocal colors” (Miami Herald). She is a 2023 national winner of the prestigious Metropolitan Opera Laffont Competition.
Her 2024 engagements include Fricka in excerpts from the Ring cycle in concerts with Lyric Opera of Kansas City. In 2025, she will make her Santa Fe Opera debut as Fricka in Die Walküre, a role she will reprise in May 2026 with the Los Angeles Philharmonic.
Her appearances for the summer of 2023 included Dorabella in Cosi fan tutte with the Tel Aviv Summer Opera Festival, and Alice Ford in SIr John in Love by Ralph Vaughan Williams at the Bard Music Festival. In October 2023, she performed the title role in Carmen with Santa Barbara Opera.
Her appearances for the 2022/23 season included Beethoven's Symphony No. 9 with the Los Angeles Chamber Orchestra, appearances with LA Opera as Lucretia in The Rape of Lucretia and Emilia in Otello, and a Callas centenary concert with Dayton Opera.
Recent roles include: Marcellina in The Marriage of Figaro and Carmen in The Tragedy of Carmen with Shreveport Opera, Vera Boronel in The Consul with Baltimore Concert Opera, Maddalena in Rigoletto with Opera San Antonio and Painted Sky Opera, and the Mother in Hansel and Gretel and Dorabella in Cosi fan tutte with Yale Opera.
She recently completed her second season with the Shreveport Opera Company's Resident Artist program. In 2020 she performed in Art After Dark where she sang Maria in Feel the Tango, Angie in Pepito, and Julia Child in Bon Appétit. She also sang in their 2021 recorded production of Rigoletto as Maddalena and Giovanna.
In 2022, she returned to Santa Fe Opera as an Apprentice Artist, covering Meg Page in Falstaff. During the 2021 summer season with Santa Fe Opera, she covered the roles of Marcellina in The Marriage of Figaro and Hippolyta in A Midsummer Night’s Dream. She is an alumna of the Chautauqua Opera Company’s Young Artist program. She has performed with the Miami Summer Music Festival as Le Prince Charmant in Massenet’s Cendrillon and was a soloist in Handel's Messiah with the Wintergreen Performing Arts Festival, as well as multiple concerts in Tuscany, Italy, with Bel Canto in Tuscany.
She received the Campbell/Wachter Scholarship Award from the Santa Fe Opera for the 2021 season. She received the Faculty Award from the Vann Vocal Institute in 2020. She was a first place winner of the Pacific NorthWest Competition in Eugene, Oregon in 2019. She has placed in the top ten in the Brava! Competition two years (2018, 2019) in a row and was a Grand Finalist in the Talents of the World Competition in 2018.
She has performed in many concert works including Beethoven's Symphony No. 9 and Handel’s Let God Arise, O Sing unto the Lord, and Messiah. She has also sung in recitals for the Trinity on Wall Street, Pipes at One and the Chautauqua Opera Company’s Emerging Artists Recital. She has also performed the Old Lady in Candide with the Eastern Connecticut Symphony Orchestra.
She graduated cum laude from the University of California, Los Angeles, with a bachelor of arts in vocal performance and a minor in music industry in 2016. Roles at UCLA include: Jenny in Down in the Valley, the Shepherd in L’enfant et les sortilèges, Dorabella in Cosi fan tutte, the Old Lady in Candide, and Le Prince Charmant in Cendrillon. She graduated with honors from the Yale University School of Music with a master's of music in 2018. Roles at Yale included: Second Lady in The Magic Flute, the Composer in Ariadne auf Naxos, Bertarido in Rodelinda, and Sister Helen Prejean in Dead Man Walking. She continued to work and study at the Potomac Vocal Institute where she studied under the world-renowned Elizabeth Bishop and Arianna Zuckerman in the inaugural class of the Professional Development Program. Roles in that program included Giovanna Seymour in Anna Bolena, Octavian in Der Rosenkavalier, Quickly in Falstaff and Charlotte in A Weekend in the Country.
Miss Saturnino is a choreographer, fight director and intimacy director. Her work includes Feel the Tango, Speed Dating, and The Marriage of Figaro for Shreveport Opera. She works with Sordelet, Inc., as a fight and intimacy director. She is also trained in fencing.
From: Minot, North Dakota. LA Opera: Benvolio in Romeo and Juliet (2024, debut); Bullfighter in Ainadamar (2025); Borsa in Rigoletto (2025); Parpignol in La Bohème (2025); Dr. Caius in Falstaff (2026); First Armored Man in The Magic Flute (2026). He joined the Domingo-Colburn-Stein Young Artist Program in 2024.
Heralded as having a voice “without dross” and for his “flawless vocal technique”, Nathan Bowles is quickly earning his reputation as a compelling stage performer.
His 2025 appearances include Don José in La tragédie de Carmen with Tulsa Opera and Canio in Pagliacci with Pacific Opera Project.
In 2024, he made his Dallas Opera mainstage debut last year as Benvolio in Romeo et Juliette. With the Santa Fe Opera, Bowles was featured as Animal Tamer and Waiter 2 in Der Rosenkavalier. He has been heard with Western Plains Opera as Don José in Carmen, John Styx in Orpheus in the Underworld, the Baker in Into the Woods, and as Alfred in Die Fledermaus. With the SMU Lyric Theatre, he has been heard in such roles as Male Chorus in The Rape of Lucretia and Judge Danforth in The Crucible.
Bowles is a 2024 national finalist in the Metropolitan Opera Laffont Competition, winning the New Orleans district and Gulf Coast Region. He is a recipient of the 2024 Richard F. Gold Career Grant. Concert performances include Vaughan Williams’ Hodie, Hailstork’s I Will Lift up Mine Eyes, and in the DSO Symphony Gala. He is a graduate from Minot State University and holds a master’s degree from Southern Methodist University.
Learn more at NathanBowlesTenor.com.
Rodrick Dixon is a leading American dramatic tenor, whose range, musicianship and dramatic intensity have seen him engaged by prominent theaters and orchestras throughout the United States. Notable operatic engagements include: The Dwarf at LA Opera; Walther von der Vogelweide in Tannhäuser at Michigan Opera Theater; Otello with Opera Southwest; Erik in The Flying Dutchman with RAI Torino and the St Louis Symphony; the Duke of Mantua in Rigoletto for Cincinnati Opera; Hoffmann in The Tales of Hoffmann at Portland Opera; the Prince in the world premiere of Vanqui by Leslie Savoy Burrs for Opera Columbus, and Sportin’ Life in Porgy and Bess at Virginia Opera.
Notable concert engagements include: Orff's Carmina Burana, Stravinsky's Oedipus Rex, Janacek's Glagolitic Mass, Mahler's Das klagende Lied, Beethoven's Symphony No. 9, Rachmaninoff's The Bells, Rossini's Stabat Mater and Nathaniel Dett's The Ordering of Moses all at the Cincinnati May Festival; Oedipus Rex with the LA Philharmonic, The Bells and Das klagende Lied at the Ravinnia Festival; Sportin’ Life with the Cleveland Orchestra; Bernstein's Mass for the Choral Arts Society at the Kennedy Center; Beethoven's Symphony No.9 and Hannibal Lokumbe's Healing Tones and One Land, One River, One People with the Philadelphia Orchestra.
Learn more at TenorRodDixon.com.
Tenor Yuntong Han earned his master’s degree at Indiana University's Jacobs School of Music, where he studied with Heidi Grant Murphy and Kevin Murphy. His roles there include Romeo in Romeo and Juliet, Tamino in The Magic Flute, Ruggero in La Rondine and Don Ottavio in Don Giovanni. Before coming to IU, he earned his second bachelor’s degree, in vocal performance, at New England Conservatory of Music under the tutelage of MaryAnn McCormick, and a bachelor’s degree in aircraft manufacturing engineering from Northwestern Polytechnical University in China. He was a 2023 national finalist in the Metropolitan Opera Laffont Competition. That same year, he was a vocal fellow at Ravinia's Steans Music Institute. His roles at the New England Conservatory include Nemorino in The Elixir of Love, Rodolfo in La Bohème and Lucano in The Coronation of Poppea. In addition to his work on the opera stage, he is also active as a concert and oratorio soloist. Highlights include Handel’s Messiah, Haydn’s The Creation and the NEC Song and Verse art song series.
From: Claremont, California. LA Opera: Guccio in Gianni Schicchi (2008, debut); over a dozen roles to date including Monterone in Rigoletto (2018); Father in Hansel and Gretel (2018); Figaro in The Marriage of Figaro (2022); Leporello in Don Giovanni (2023); Capulet in Romeo and Juliet (2024). He is a 2021 recipient of the Eva and Marc Stern Artist Award.
Bass-baritone Craig Colclough initially studied as a cellist and eventually attended the University of Redlands in California. Before training with Wolf Trap Opera and Florida Grand Opera, he began his career appearing in several roles with LA Opera. The company awarded him the Eva and Marc Stern Artist Award during the 2020/21 season, celebrating artists with deep connections to LA Opera.
Verdi’s Macbeth has become a signature role, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper and Luxembourg Opera. 2022 saw his return to the Royal Opera House Covent Gardens where he reprised his role as Telramund in Wagner’s Lohengrin. Colclough is currently building the character of Alberich under the direction of Brigitte Fassbaender for the Tiroler Festspiele in Austria. Having debuted Alberich in her 2021 Rheingold to great acclaim, Colclough will complete the cycle in 2024.
The 2022/23 season saw Colclough as Figaro in The Marriage of Figaro at LA Opera, Sharpless in Madama Butterfly at the Atlanta Opera with continued appearances as Monterone in Rigoletto at the Metropolitan Opera. The 2018/19 season included appearances as Peter in Hansel and Gretel at LA Opera, Fra Melitone in La Forza del Destino for his company debut with Oper Fankfurt, as well as the Storyteller in A Flowering Tree for his company debut with Opera Queensland. During the summer, he returned to the title role of Don Pasquale with the Berkshire Opera Festival.
A house favorite with Belgium’s Opera Vlaanderen, he has appeared with the company as Telramund, Kurwenal, Macbeth and the title role of Falstaff, in a production directed by Oscar-winning actor Christoph Waltz.
Known for his versatility, Craig Colclough has appeared as Peter Vogel in Korngold's Der Ring des Polykrates with the Dallas Opera; Hare in the world premiere of Burke and Hare with Boston Lyric Opera; Pistola in Falstaff with the Royal Opera House, Covent Garden; and Doristo in L’arbore di Diana with Minnesota Opera.
He has collaborated with acclaimed conductor Gustavo Dudamel for performances of Timur in Turandot with the Simon Bolivar Symphony Orchestra of Venezuela and Beethoven’s Ninth Symphony with the Los Angeles Philharmonic.
Additional credits include the Israeli Symphony Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled.
Learn more at CraigColclough.com.
Martin Gantner has earned a reputation as one of the leading dramatic and character baritones of his time, owing to his strong stage personality, outstanding musicality, nuanced and sophisticated diction, and his powerful yet flexible, richly colored voice. His interpretation of the role of Telramund in Wagner’s Lohengrin, which he has sung in Zurich, Salzburg, Bayreuth, Munich, Berlin, Stuttgart and most recently at the Vienna State Opera, has set high standards, and has consistently received enthusiastic praise from press and audience alike. His extensive repertoire also includes roles such as Amfortas, Beckmesser, Klingsor, Kurwenal, Wolfram, Gunther, Barak, Faninal, Jochanaan, Musiklehrer, Don Pizarro, Dr. Schön, Gyges in Zemlinsky’s Der König Kandaules, and the title roles in Hindemith’s Cardillac, Krenek’s Der Diktator and Ullmann’s Der Kaiser von Atlantis.
Martin Gantner’s career has taken him to theaters such as the Bavarian State Opera, where he initially was a member of the ensemble and was subsequently in 2005 honored with the title of Bavarian "Kammersänger" for his outstanding achievements, to the Hamburg, Stuttgart and Berlin State Operas, the Deutsche Oper Berlin, the Semperoper Dresden, De Nationale Opera Amsterdam, the Zurich Opera House, the Grand Théâtre de Genève, the Opéra National de Paris, La Scala in Milan, Teatro Comunale Bologna, Teatro Regio in Turin, Maggio Musicale Florence, Vienna State Opera, Theater an der Wien, Teatro de la Maestranza Sevilla, Metropolitan Opera New York, LA Opera, San Francisco Opera, Lyric Opera of Chicago, Canadian Opera Company Toronto and New National Theatre Tokyo, as well as the Salzburg and Bayreuth Festivals.
He has worked with renowned conductors such as Semyon Bychkov, Myung Whun Chung, James Conlon, Daniele Gatti, Thomas Guggeis, Nikolaus Harnoncourt, Philippe Jordan, Vladimir Jurowski, James Levine, Fabio Luisi, Zubin Mehta, Cornelius Meister, Kent Nagano, Gianandrea Noseda, Antonio Pappano, Kirill Petrenko, Mstislav Rostropovich, Donald Runnicles, Peter Schneider, Christian Thielemann, Juraj Valčuha, Lorenzo Viotti, Sebastian Weigle and Simone Young, and with directors such as David Alden, Calixto Bieito, Robert Carsen, Jürgen Flimm, Götz Friedrich, Jan Philipp Gloger, David Hermann, Andreas Homoki, Günter Krämer, Maximilian Schell, Michael Thalheimer, Herbert Wernicke and Jossi Wieler, amongst others.
Martin Gantner’s concert repertoire focuses on works such as Mahler’s Das Lied von der Erde, Lieder eines fahrenden Gesellen, Kindertotenlieder and Symphony No. 8, Beethoven’s Symphony No. 9, Brahms’ Ein Deutsches Requiem, Bach’s St. Matthew’s Passion, Mendelssohn’s Elias and Paulus, Schumann’s Scenes from Goethe’s Faust, Zemlinsky’s Lyric Symphony, Schönberg’s Gurre-Lieder and Britten’s War Requiem, which was recorded for television and CD under Mstislav Rostropovich. Further TV, radio and CD recordings include Mahler’s Lieder eines fahrenden Gesellen with the RAI in Rome, a TV recording of Haydn’s Paukenmesse with Zubin Mehta, Salome under von Dohnanyi (Decca), Gunther in the operetta Die lustigen Nibelungen (Capriccio), Guglielmo in Cosi fan tutte under Bertrand de Billy (Arte Nova Classics), as well as Schumann’s Faust Scenes under Jeffrey Tate. He can also be heard on the CD Best of Bayerische Staatsoper, to which he contributed Wolfram’s aria from Tannhäuser.
Martin Gantner was born in Freiburg and studied vocal performance at the University of Music in Karlsruhe. He lives with his wife in Bruchsal, where he also acts as artistic director of the local Schlossfestspiele.
Bass Vinícius Costa has been a Renée Fleming Artist at the Aspen Music Festival, singing the title role in The Marriage of Figaro and Victor Fyodorov in Jimmy Lopez's Bel Canto.
Most recently, he sang the roles of Amaral and the Father in a soon to be released recording of Brazilian composer André Mehmari's 2023 opera O Machete.
Winner of the Ralph Vaughan Williams award for best performance of an English song at the 2022 Wigmore Hall Song Competition, he and his collaborator Pierre Nicolas-Colombat were among the 10 semi-finalists out of more than 120 entries in the most important song competition in the United Kingdom and one of the biggest competitions on the European continent. He was also a first place winner in the Brazilian and Latin American Linus Lerner Singing Competitions.
He has performed with Theater Basel and Bühne Bern in Switzerland and with Teatro São Pedro, Teatro Municipal de São Paulo and Sala São Paulo in Brazil. His roles include Sarastro in The Magic Flute, Dandini in La Cenerentola, Zuniga in Carmen, Fiorello in The Barber of Seville and Rodimarte in Scarlatti's The Triumph of Honor. On the concert platform, he has been a soloist in works such as Bach's Ich Habe Genug and the Saint Matthew Passion, as well as Symphony No. 5 (“Requiem, Bardo, Nirmanakaya”) by Phillip Glass.
He began his vocal and musical education with the Guri Santa Marcelina Program in 2014 with Naraine Sri Hamsa and Paulo Cavalcante. In Brazil he was a student of Maria Lúcia Waldow and Francisco Campos; graduated with a bachelor's degree in singing in 2021 and in 2023 completed his master's degree in performance with Marcel Boone, with specialized training in song with Jan Schultz at the FHNW Hochschule Für Musik Basel. His training also includes the Old Music Workshop at the Escola Municipal de Música de São Paulo with Nicolau de Figueiredo and master classes with Brigitte Fassbaender, Ludovic Tezier and Margreet Honi. In 2023, he participated in the Reneé Fleming Song Studio at Carnegie Hall.
From: Glendive, Montana. LA Opera: He became Chorus Director in 2022, after working on over 75 productions as associate chorus director and/or assistant conductor. He is a coach for the Domingo-Colburn-Stein Young Artist Program.
Since joining LA Opera in 2007, he has served as associate chorus director (since 2011) and assistant conductor, and he has worked closely with the Domingo-Colburn-Stein Young Artist Program. Before becoming Chorus Director, he previously directed the LA Opera Chorus for the Plácido Domingo 50th Anniversary Concert (2017) and for The Clemency of Titus (2019). One of his generation’s most respected pianists and vocal coaches, he has collaborated with major opera houses throughout the United States. He has assisted in the preparation of operas and vocal chamber music at the LA Philharmonic. As a pianist, he has partnered with Sondra Radvanovsky, J'Nai Bridges, Eric Owens, Brandon Jovanovich, Rodell Rosel, Dolora Zajick, Kate Lindsey and Susan Graham. He accompanied Joyce DiDonato at the 54th Grammy Awards, the first time the ceremony featured a performance by a classical singer.
In partnership with the Getty Villa and LACMA in Los Angeles and the Phillips Collection in Washington D.C., he has curated multimedia recitals which draw connections between the classical vocal repertoire and special exhibits in the museums. He is a frequent collaborator at Wolf Trap Opera as an assistant conductor, chorus master and recitalist. He has been a guest coach at the Opernfestspiele St. Margarethen, in Esterhazy, Austria, and he helped prepare Seattle Opera’s Ring cycle in 2013. He has been a guest faculty member for young artist programs at Utah Opera and Seattle Opera, and he is a part-time lecturer in vocal arts and opera at the University of Southern California. (JeremyMFrank.com)
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