Precise vocal control, clear diction, intelligent musicality and an ability to get to the heart of everything he sings all ensure Christoph Prégardien’s place among the world’s foremost lyric tenors. Especially revered as a Lieder singer, he kicks off the 2019/2020 season with concerts at the Schubertiade Hohenems and the Oxford Lieder Festival. He then performs in the US on tour with pianist Julius Drake, before the pair give joint recitals at London’s Wigmore Hall and in Madrid. In the spring he will tour with Le Concert Lorrain, followed by recitals in Hong Kong with Roger Vignoles and in Zurich with Hartmut Höll and Udo Samel, among others, with additional appearances at the Ludwigsburger Schlossfestspiele and at the Konserthuset in Stockholm.

Christoph Prégardien regularly appears with renowned orchestras the world over. He has worked with the Berlin and Vienna Philharmonics, the Amsterdam Concertgebouw Orchestra, the Philharmonia Orchestra, the Orchestre Philharmonique de Radio France, as well as the Boston and San Francisco Symphonies, along with conductors such as Barenboim, Metzmacher and Thielemann. His wide orchestral repertoire includes the great baroque, classical and Romantic oratorios and passions, as well as works from the 17th and 20th centuries. In opera, his roles have included, among others, Tamino, Almaviva, Fenton (Falstaff), Don Ottavio, Titus, Ulisse and Idomeneo.

His extensive experience singing the Evangelist roles, together with his close working relationship with conductors such as Nagano, Chailly, Herreweghe, Harnoncourt, Luisi and Gardiner have provided him with the perfect basis for his increasing work conducting the works of Bach. Following the success of his conducting debut in 2012, leading Le Concert Lorrain and the Nederlands Kammerkoor in Bach’s St. John’s Passion, he has also become in-demand as a conductor of this repertoire. In 2015 he led Le Concert Lorrain and the Balthasar-Neumann Choir, this time in the St. Matthew’s Passion, and in the following years returned to lead Le Concert Lorrain and the Dresdner Kammerchor on tour with Bach’s Christmas Oratorio. In 2019 he made his debut leading a symphony orchestra, conducting the Duisburg Philharmonic in works including Mozart’s Requiem, and also led the Collegium Vocale Gent at a celebration concert for Philippe Herreweghe’s 70th birthday; together with the ensemble he will take part in a major European tour of Bach’s Christmas Oratorio in December.

The singer has recorded much of his repertoire on a discography of over 150 records, which have received awards such as the Orphée d’Or of the Académie du Disque Lyrique, the Edison Award, the Cannes Classical Award and the Diapason d’Or. For the label Challenge Classics he has recorded Schubert’s Schwanengesang with Andreas Staier and Die schöne Müllerin with Michael Gees – selected as Editor’s Choice by Gramophone magazine and awarded the MIDEM Record of the Year – followed by Hugo Wolf’s Italienisches Liederbuch with Julia Kleiter, Between Life and Death, Wanderer and the Grammy-nominated Winterreise disc – all with Michael Gees – as well as Father and Son with his son Julian Prégardien. His Schubert CD Poetisches Tagebuch (with Julius Drake) was awarded the German Critics’ Award 2016. His most recent CD releases include A Matter of Heart – songs for voice, horn and piano with Olivier Darbellay and Michael Gees – as well as a recording of passion cantatas by Telemann and Bach with the Vox Orchester for Sony (where he appears as a baritone for the first time), along with Auf den Flügeln des Gesanges with Cyprien Katsaris for Challenge, featuring Romantic songs and their piano transcriptions. In autumn 2019, also for Challenge, a new recording of Schumann’s Dichterliebe and Wagner’s Wesendonck Liedern (with Michael Gees) will be released.

Teaching remains an important part of Christoph Prégardien’s musical life. Following many years at the Hochschule für Musik und Theater in Zurich, he gives masterclasses for young singers the world over and since 2004 has been a professor at the Academy of Music in Cologne.

Grammy nominee and 2014 International Opera Awards Male Singer of the Year, Stuart Skelton is one of the finest heldentenors on the stage today, critically acclaimed for his outstanding musicianship, tonal beauty and intensely dramatic portrayals.

Stuart has appeared in many of the world’s most celebrated opera houses including the Metropolitan Opera, Seattle Opera, San Francisco Opera, English National Opera, Paris Opera, Bavarian State Opera, Hamburg State Opera, Berlin State Opera, Deutsche Oper Berlin, Dresden Semperoper and the Vienna State Opera. His roles include the title roles in Lohengrin, Rienzi, Parsifal, Dmitrij, Otello and Peter Grimes as well as Florestan in Fidelio, Laca in Jenufa, Erik in Der Fliegende Holländer, The Kaiser in Die Frau ohne Schatten, Bacchus in Ariadne auf Naxos, Max in Der Freischütz,  Canio in Pagliacci, Gherman in The Queen of Spades, and Siegmund in Der Ring des Nibelungen.

He continues to be in demand on concert stages around the world, having appeared with such orchestras as the Atlanta Symphony Orchestra, Boston Symphony Orchestra, Chicago Symphony Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Montreal Symphony, Hamburg, Frankfurt and Munich Radio Symphony Orchestras, London Symphony Orchestra, the BBC Orchestras of Scotland and Wales and the Symphony Orchestras of Sydney, Melbourne, Western Australia and Tasmania. He has also appeared at the Edinburgh and Lucerne Festivals, and in the BBC Proms.

Throughout his career Stuart has been fortunate enough to work with many acclaimed conductors including Vladimir Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, Christoph von Dohnanyi, Christoph Eschenbach, Asher Fisch, Edward Gardner, Daniele Gatti, Phillipe Jordan, Fabio Luisi, Lorin Maazel, David Robertson, Sir Simon Rattle, Donald Runnicles, Simone Young and Jaap van Zweden.

It is the Grimes of the young Australian Stuart Skelton — surely the finest on a London stage since the celebrated Jon Vickers — who sets the seal on the evening. – Sunday Times

The tenor made his debut at Teatro alla Scala in the 2017-18 season in Fidelio conducted by Myung-Whun Chung in a production directed by Deborah Warner. Stuart Skelton’s robust concert calendar included performances of Mahler’s Das Lied von der Erde with Asher Fisch and the Milwaukee Symphony, Adam Fischer and the Düsseldorfer Symphoniker, and with Sir Simon Rattle and the Symphonieorchester des Bayerischen Rundfunks and the London Symphony Orchestra at Lincoln Centre; Elgar’s The Dream of Gerontius with Sir Andrew Davis and the Melbourne Symphony Orchestra and with Sakari Oramo and the BBC Symphony Orchestra. Mr Skelton also joined the Dallas Symphony in the farewell performances of Jaap van Zweden in Beethoven’s 9th Symphony, appeared in recital at the Melbourne Recital Centre with pianist Richard Peirson, followed by concert performances and recording of Tristan und Isolde with Western Australian Symphony Orchestra under Asher Fisch.

Stuart’s 2018/19 season saw him make his Royal Opera House debut as Siegmund in Der Ring des Nibelungen conducted by Sir Antonio Pappano and return to the Metropolitan Opera as Otello under Gustavo Dudamel and again as Siegmund in Die Walküre und Phillipe Jordan.

Siegmund featured again in London with the London Philharmonic under Vladimir Jurowski and again with Bayerische Rundfunk Orchestra and Sir Simon Rattle.

Mr Skelton returned to Otello with the Berlin Philharmonic at the Baden Baden Festival under Maestro Zubin Mehta before making his Budapest Wagner Festival debut as Siegmund under Adam Fischer.

Stuart continued his close relationship with David Robertson and Sydney Symphony in concert performances of Peter Grimes and with Edward Gardner and the BBC Symphony, in a performance of Das Lied von der Erde at the BBC Proms.

Upcoming appearances include Act II of Tristan und Isolde with the Concertgebouw Orchestra under Daniel Harding, Die Walküre with the Netherland’s Radio Philharmonic under Jaap van Zweden, and collaborations with Karina Canellakis in Act 1 of Die Walküre with the Royal Stockholm Philharmonic and Beethoven’s Mass in C with the Orchestra de la Radio France. 2019/20’s season also sees Stuart return to Teatro Real, Madrid for Robert Carsen’s Die Walküre, San Francisco Symphony for Act 1 of Die Walküre under Simone Young, Bergen Philharmonic for performances and recording of Peter Grimes under Edward Gardner and a return to the Vienna State Opera as Parsifal.

Mr Skelton recently released his first solo Album, Shining Knight, with works by Wagner, Griffes and Barber and Tristan und Isolde, both recorded with West Australian Symphony Orchestra under Asher Fisch.

Stuart Skelton is the finest Laca I have ever heard. – Financial Times

In 2016 Stuart made his role debut as Tristan in production of Tristan und Isolde with the Baden-Baden Festspiel with the Berlin Philharmonic under Sir Simon Rattle, followed on by a new production of the same opera at the English National Opera under Ed Gardner and then again in the MET’s season-opening production of Tristan und Isolde also conducted by Sir Simon Rattle. Skelton returned to his native Australia for Tristan und Isolde in concert with Nina Stemme and the Tasmanian Symphony Orchestra under Marko Letonja, a Wagner Arias concert with West Australian Symphony Orchestra and Asher Fisch, rounding out his Australian tour with concert performances of Parsifal Act II with the Melbourne Symphony Orchestra and Simone Young.

2017 saw Stuart return to the Opera National de Paris in the title role of Lohengrin, the Bavarian State Opera as Laca in Jenufa and the Deutsch Oper Berlin as Siegmund, make his debt with the Cincinnati Symphony in Mahler´s Das Lied von der Erde and a return to the Bergen Philharmonic for concert performances of Peter Grimes and Otello. Stuart also made a return to Mahler´s Das Lied von der Erde with The Metropolitan Opera Orchestra at Carnegie Hall, under Esa-Pekka Salonen and Sir Andrew Davis and the Melbourne Symphony Orchestra, as well as concert performances of Die Walküre with the Bilbao Orkestra Sinfonikoa. Making a welcome return to the BBC Proms, Stuart appeared as Florestan in Beethoven’s Fidelio with the BBC Philharmonic under Juanjo Mena. Renewing his frequent collaborations with Edward Gardner, Stuart once again appeared as Peter Grimes with the Bergen Filharmonic at The Edinburgh International Festival. Stuart rounded out his year with performances of Siegmund with the Salzburg Easter Festival production of Die Walküre with the Hong Kong Philharmonic under Jaap van Zweden, in Beijing and Beethoven’s Missa Solemnis with St Louis Symphony Orchestra and long time collaborator David Robertson.

Stuart has twice been honoured with the Sir Robert Helpmann Award, once for his performance of Siegmund in the State Opera of South Australia’s 2004 production of the The Ring Cycle, and again in 2010 for Best Male Performer in a Lead Role for his portrayal of Peter Grimes for Opera Australia. He received a 2010 Green Room Award for A Streetcar Named Desire and is a two-time Olivier Award nominee for Outstanding Achievement in Opera for his performances as Peter Grimes and Tristan with the English National Opera.

Piotr Beczala is one of the most sought-after tenors of our time and a constant guest in the world’s leading opera houses. The Polish-born artist is acclaimed by audiences and critics alike not only for the beauty of his voice, but also for his ardent commitment to each character he portrays.

Piotr Beczala´s 2016-17 season will feature returns to Chicago, New York, Berlin, Barcelona, Vienna, Zürich, and beyond. Following a recital with San Diego Opera, Piotr encores his signature portrayal of Edgardo in a new-to-Chicago production of Lucia di Lammermoor at the Lyric Opera of Chicago. From there, he heads to New York for a revival of La Bohème at the Metropolitan Opera. He also joins a star-studded lineup of colleagues on the Met stage to celebrate the company’s 50th anniversary at Lincoln Center. Rodolfo in Puccini’s bohemian masterwork is also the vehicle for Piotr’s return to the Deutsche Oper Berlin. Furthermore Piotr Beczala can be heard in Barcelona with a revival of Massenet’s Werther at the Gran Teatre del Liceu paired with a recital at the city’s Palau de la Música. The recitals continue with stops in Frankfurt, Graz, Berlin, and Hamburg. Returning to the Wiener Staatsoper stage, Piotr headlines a revival of Un ballo in maschera before joining Opernhaus Zürich for a new production of Léhar’s Das Land des Lächelns in the role of Prince Sou-Chong.

Since his debut as Duca in Rigoletto in 2006, Piotr Beczala is a regular guest at the Metropolitan Opera New York. Here he has performed in a new production of Tchaikovsky’s Eugene Onegin opposite Anna Netrebko, Prince in Dvorak’s Rusalka, Edgardo in Donizetti’s Lucia di Lammermoor, Rodolfo (La Bohème), as well as in the title roles of Gounod’s Roméo et Juliette and Faust. In 2011 he accompanied the MET on a tour to Japan, singing Rodolfo and Edgardo. 2012 saw Piotr Beczala make his role debut as Chevalier des Grieux in Laurent Pelly’s new production of Manon, alongside Anna Netrebko as the eponymous heroine, conducted by Fabio Luisi. The production was part of the “HD live” series by the MET and was broadcast live in cinemas throughout the US and over 50 countries world-wide. It was released on DVD, as was his interpretation of the Duke in a new production of Rigoletto, alongside Diana Damrau in January 2013, for which he received the ECHO Klassik Award “Singer of the Year” in 2014. In the 2015/16 season he was making his highly acclaimed debut in the title role of Wagner´s Lohengrin opposite Anna Netrebko at the Semperoper Dresden.

At Teatro alla Scala in Milan Piotr Beczala made his debut in 2006 singing Duca in Rigoletto, returning later as Rodolfo in La Bohème. The tenor also opened the 13/14 season for the first time, singing Alfredo in a new production of Verdi’s La Traviata. Piotr Beczala also regularly sings at the State Operas in Munich and in Vienna. On the stage of the National Theatre in Munich, he interpreted the Prince, Alfredo, the Italian Singer in Der Rosenkavalier, and the title role of Massenet’s Werther. During the Munich Opera Festival, Piotr Beczala was heard as Alfredo in La Traviata. In Vienna he performed Roméo in Jürgen Flimm’s production of Roméo et Juliette, under the baton of Plácido Domingo. Since his Die Zauberflöte and Rodolfo in La Bohème. Piotr Beczala sang guest performances at the Nederlandse Opera, Théâtre de la Monnaie/de Munt, Staatsoper Hamburg, Deutsche Oper Berlin, Staatsoper Berlin, Grand Théâtre de Genève, Teatro Comunale di Bologna, Teatr Wielki (Warsaw), and the Mariinsky Theatre, amongst many others.

Piotr Beczala is a regular guest at the Salzburg Festival. Since his debut as Tamino in 1997 he has sung the cantata Rinaldo by Johannes Brahms under the baton of Sir Elliott Gardiner at the Whitsun Festival as well as Prince in Rusalka, Roméo in Roméo et Juliette, the title role in Gounod´s Faust and Rodolfo in Damiano Michieletto’s new production of La Bohème opposite Anna Netrebko during the Summer Festival. This production was broadcasted on TV and released on DVD by Deutsche Grammophon. Piotr Beczala also sang with Anna Netrebko in concert performances of Tchaikovsky’s Iolanta in 2011. In 2013 he was heard in Verdi’s Requiem with the Wiener Philharmoniker and Riccardo Muti conducting.

In addition to his operatic work, he has sung many of the great choral and orchestral vocal works with the world’s most distinguished orchestras and maestri. Celebrating his 20th stage anniversary Piotr Beczala gave a concert at Theatre Wielki in Warsaw in 2012. Also in 2012 he sang the New Year’s Eve concerts at the Semperoper Dresden for the second consecutive year. The concerts, which were led by Christian Thielemann, were broadcast on TV and released on CD and DVD by Deutsche Grammophon. In 2014 he joined a spectacular group of colleagues for Le Concert de Paris, an annual concert event and celebration at the Eiffel Tower with an estimated live audience of more than half a million people.

Piotr Beczala was born in Czechowice-Dziedzice in Southern Poland and received his initial vocal training at the Katowice Academy of Music, where he was given instruction by such illustrious singers as Pavel Lisitsian and Sena Jurinac. His first engagement was at the Landestheater Linz and in 1997 he became a company member of the Zürich Opera. The Zurich audience could hear him as Alfredo in La traviata, Edgardo in Lucia di Lammermoor, the title role of Faust, Tamino in Die Zauberflöte, Elvino in La Sonnambula, and also as the soloist in orchestral songs by Richard Strauss, Riccardo in Un Ballo in maschera as well as Rodolfo in La Bohème.

Piotr Beczala’s is represented on dozens of CDs in a vast array of works, ranging from staples of the repertory, including Faust live from Vienna (Orfeo) and La Traviata from Munich (Farao), which was nominated for a 2008 Grammy Award, to such rarely-heard works as Szymanowski’s Król Roger and Offenbach’s Rheinnixen (Accord) and Johann Strauss II’s Simplicius (EMI). In addition, Piotr Beczala sings on a recording of Lucia di Lammermoor with Natalie Dessay in the title role and Valery Gergiev leading the Mariinsky Opera on the Company’s own label.

Three solo aria CDs have been released on the Orfeo label. “Salut”, featuring French and Italian arias (2008), was followed by “Slavic Opera Arias”, with repertoire by Borodin, Tchaikovsky, Rimsky-Korsakov, Rachmaninoff, Moniuszko, Źeleński, Nowowiejski, Smetana and Dvořák. Opera News declared it #1 on its list of 2011’s “Twelve Best Recital Discs” & it received Classica’s coveted “Choc de l’année 2011”. In 2013 a Verdi album was released. Since 2012 Piotr Beczala is an exclusive artist of Deutsche Grammophon and released his second album “The French Collection” with the yellow label in February, 2015.

Argentinian tenor, Marcelo Álvarez, made an impressive European debut at the Teatro La Fenice, Venice and has since performed on the world’s most prestigious stages all over the world. With a vast repertoire from belcanto roles to French opera, from dramatic lirico pieno (full lyric) to spinto roles,  Álvarez has appeared on the stages at the Metropolitan Opera House (New York), the Royal Opera House (London), the Opéra National de Paris, the Vienna State Opera, the Teatro Real in Madrid, the Teatro Colon in Buenos Aires and the Teatro alla Scala in Milan. He has released over 30 recordings with major record companies, including Sony and Decca.

One of the most exciting and in demand artists today, French tenor Stanislas de Barbeyrac came to international attention in in 2014 when he sang his first Tamino Die Zauberflöte at Aix-en-Provence Festival. A complex and compelling musician and actor, he has been in constant demand on the world’s most important opera stages such as Opéra National de Paris, Royal Opera House, Covent Garden, Wiener Staatsoper, Metropolitan Opera, Bayerische Staatsoper Munich, Dutch National Opera, Teatro Real Madrid, Grand Théâtre de Genève, San Francisco Opera, and at the Aix-en-Provence and Salzburg Festivals.

A vehicle for de Barbeyrac in the 2021/22 season is the title role of Pelleas Pelléas et Mélisande which he sings at Gran Teatre del Liceu and Theatre de Champs-Elysées as well as in concert in Cologne and Compiegne, France. He also makes his Wiener Staatsoper debut as Don Ottavio in a new production of Don Giovanni directed by Barrie Kosky and continues his exploration of the heroic repertoire by taking on the role of Florestan Fidelio with Insula Orchestra under the baton of Laurence Equilbey. Further engagements include a double appearance at the Verbier Festival as Don Ottavio and Mozart’s Requiem; several recital appearances in Paris and Barcelona; a concert with Gaëlle Arquez at the Festival d’Auvers-sur-Oise and Licinius La Vestale at Palazzetto Bru Zane.

Highlights of the last season include Tamino Die Zauberflöte and an exciting role debut in the title role La Clemenza di Tito, both at the Opéra National de Paris; a role debut as Don José in Carmen at the Opéra de Bordeaux and a solo recital in Paris. De Barbeyrac also received invitations to sing Pylade Iphigenie en Tauride at the Opéra National de Paris; Pelleas Pelléas et Mélisande in Bordeaux and Tamino at the Metropolitan Opera New York. Further engagements include a hugely acclaimed debut as Max Der Freischütz at Theatre de Champs-Elysées in Paris, Barbican Centre in London, and Opéra de Rouen; his debut as Don Carlos and Damon in a new production of Les Indes Galantes at Opéra National de Paris and Tamino Die Zauberflöte at Teatro Real.

Further appearances include Tamino, a reference role in his career, at Aix-en-Provence Festival, Dutch National Opera, Chorégies d’Orange; Opéra de Paris; Opernhaus Zürich, Grand Théâtre de Genève and in Budapest; Arbace Idomeneo at Royal Opera House, Covent Garden; Renaud in a new production of Gluck’s Armide at Wiener Staatsoper; Alfredo La Traviata at Semperoper Dresden and in Saint Etienne; Macduff Macbeth at Opéra de Marseille and Lensky Eugene Onegin at Théâtre du Châtelet. De Barberyac debuted as Don Ottavio Don Giovanni at the Drottningholms Slottsteater in Sweden together with Marc Minkowski, and has since performed it at San Francisco Opera, Metropolitan Opera, Bayerische Staatsoper and in a new production at Opéra National de Paris. A regular star of Opéra National de Paris he also appeared there as Pylade Iphigenie en Tauride and Gonzalve in L’Heure Espagnole. Another important role in de Barbeyrac’s repertoire is that of the Chevalier de la Force in Poulenc’s Dialogues des Carmélites, which he has performed at Opéra de Toulon, Nantes-Algers, Théâtre des Champs-Elysées, Bayerische Staatsoper, Théâtre Royal de la Monnaie in Brussels, Teatro Comunale in Bologna, and Dutch National Opera. In 2018 De Barbeyrac added another hugely celebrated role to his repertoire, that of Pelléas Pelléas et Mélisande which he first performed in Bordeaux and subsequently for his debut in Tokyo.

De Barbeyrac appears regularly in recital and concert in such works as Berlioz’s Requiem, Beethoven’s Symphony No. 9, and Mendelssohn’s Elijah. He made his Salzburg Festival debut in Mozart’s Davide Penitente and later returned to Salzburg for Haydn’s Die Schöpfung.

Stanislas de Barbeyrac studied at the Conservatoire de Bordeaux with Lionel Sarazzin, who remains his vocal mentor today. He has been a prize-winner at several prestigious competitions, including the Prix du Cercle Carpeaux, Prix Lyriques de l’AROP, and Queen Elisabeth International Competition in Brussels. De Barbeyrac joined the Atelier Lyrique of the Opéra de Paris in 2008 and subsequently began his operatic career at theatres in Nice, Tours, Toulon, Strasbourg, Metz, Marseille and Avignon, as well as at the Opéra de Paris, where he has appeared in many supporting roles, such as Walther von der Vogelweide in Tannhäuser, Evandre in Alceste and Narraboth Salome.

A phenomenal voice and talent in the tradition of great Italian tenor voices, British-Italian Freddie De Tommaso shot to prominence when he won the First Prize, the Placido Domingo Tenor Prize and the Verdi Prize at the 2018 Viñas International Singing Competition in Barcelona. In December 2021, he made the news again when he jumped in as Cavaradossi in Royal Opera’s production of Tosca  thus becoming the youngest ever tenor to perform the role on the iconic stage and the first Brit since 1963. De Tommaso, who was due to perform the role at a later date took to the stage after the first interval when the tenor originally scheduled became unwell during the first of the three acts, prompting the press to unanimously declare that a new star was born.

An exclusive artist with Decca Classics and the first tenor to be signed to the label since Jonas Kaufmann, his debut album Passione debuted at number 1 in the classical charts and recently won the BBC Music Magazine Award for Best Newcomer. In June 2022 his second album Il Tenore shot again straight to number 1 in the charts upon its release, whilst his rendition of Nessun Dorma, featured on the album, reached over one million streams.

The current season sees him continuing his meteoric rise with a series of exciting appearances: at Royal Opera House as Rodolfo La bohème and a return to the role of Cavaradossi; at Teatro alla Scala in Milan as Rodolfo La bohème; at Wiener Staatsoper as Macduff Macbeth; his US debut as Cavaradossi at Santa Fe Opera; at the Arena di Verona as Don José Carmen; at Staatsoper under den Linden in Berlin as the Italian Tenor Der Rosenkavalier and Alfredo La Traviata; and at the Dutch National Opera with a staged production of Verdi Requiem. On the concert platform his appearances include an open air concert Opera for All in Munich alongside Sonya Yoncheva; the New Year’s Eve Concert at Teatro La Fenice in Venice; Tosca and Verdi’s Requiem at the Bergen International Festival and with the Orchestre National de Lyon; an opera gala concert at Teatro di San Carlo in Naples; recitals at the Festival Castell Peralada; the opening concert of the Kissinger Sommer Festival and a return to Verbier Festival.

Last season, De Tommaso made important company and role debuts at Teatro alla Scala as Maurizio in David McVicar’s production of Adriana Lecouvreur; at the Wiener Staatsoper as Don José Carmen; at the Bolshoi Theatre as Cavaradossi Tosca; at Semperoper Dresden as Pinkerton in a new production of Madama Butterfly, a role he also reprised at the Royal Opera House together with the much coveted Cavaradossi in Tosca; and at Arena di Verona as Alfredo La Traviata. He also returned to Bayerische Staatsoper to sing Macduff Macbeth, a role he also performed at Wiener Staatsoper; and jumped in as Italian Tenor Der Rosenkavalier, thus making his debut with Staatsoper under den Linden in Berlin. His concert highlights included Verdi Requiem at Teatro di Massimo di Palermo; Riccardo Un Ballo in Maschera at the Verbier Festival; an opera gala recital together with Lise Davidsen at the Barbican and in concert in Oslo; as well as a solo recital in Sisteron, France.

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others. In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival. ​ In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. In 2016 – 2018 was a member/principal soloist of the company/Bolshoi theatre. ​ In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara. In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival. In 2019 has been awarded «Casta Diva» the national opera award. Recently he sang Don Giovanni in Palm Beach and Die Betrothal in a Monastery at Staatsoper in Berlin, The Tale of Tzsar Saltan in Bruxelles, The Magic Flute in Los Angeles, Eugene Onegin in Oslo. Among his future commitments: Eugene Onegin in Vienna, Falstaff in Munich, Don Giovanni in Los Angeles.

American tenor, AJ Glueckert is making this season his house debut at the Teatro del Maggio Musicale Fiorentino in Beethoven’s 9th Symphony under the baton of Zubin Mehta and as tenor/Bacchus in Strauss’ Ariadne auf Naxos under the baton of Daniele Gatti.

At Oper Frankfurt, where he has been an ensemble member since 2016/17, he will appear as Don José (Carmen), as the title character in Wagner’s Lohengrin, and as Herod in Strauss’ Salome. In recent years he has won over the audiences in Frankfurt in versatile roles such as Edrisi (Król Roger), Count Vaudémont (Iolanta), Flamand (Capriccio), Lyonel (Martha, CD released by OehmsClassics), Froh (Das Rheingold), Skuratov (From the House of the Dead) Erik (Der fliegende Holländer) and as the Prince in Rusalka, a role which he had previously sung at Minnesota Opera and New Orleans Opera.

His role debut as Kaiser (Die Frau ohne Schatten) at De Nationale Opera in Amsterdam, planned for the 2019/20 season, fell victim to the Covid-19-related cancellations. His important role debut as Lohengrin at the Tiroler Festspiele Erl, as well as concerts with the Budapest Festival Orchestra under Iván Fischer (Ariadne auf Naxos/Bacchus) in Vicenza, and with the Yomiuri Nippon Symphony Orchestra (Beethoven’s 9th Symphony) in Tokyo could fortunately take place despite the pandemic.

In the summer of 2018, AJ Glueckert was heard as Pinkerton in Madama Butterfly at Santa Fe Opera. In 2016/17 he made his Metropolitan Opera debut as Erik in Der fliegende Holländer under the baton of Yannick Nézet-Séguin.  He debuted as Bacchus in Ariadne auf Naxos at the Glyndebourne Festival and previously at the Opera Theatre of Saint Louis.

AJ Glueckert has a special connection to the San Francisco Opera as a former Adler Fellow and participant in the Merola Opera Program. He has most recently appeared there as Beadle Bamford (Sweeney Todd), Normanno (Lucia di Lammermoor) and Kunz Vogelsang (Die Meistersinger von Nürnberg).

He made his role debut as Don José in Carmen with Pittsburgh Opera in 2015. At Philadelphia Opera and Minnesota Opera he sang in the world premiere of Kevin Puts’ opera Silent Night. He is a graduate of the Santa Fe Opera and Utah Opera Young Artists programmes. At Utah Opera he was heard in the role of the Imbecile in Boris Godunov.

In addition to opera performances, AJ Glueckert works with many orchestra, amongst others with the Utah Symphony and the Santa Clara and Sacramento Symphony Orchestras.

A graduate of the San Francisco Conservatory of Music, he has twice won regional competitions at the Metropolitan Opera National Auditions.

Bernard Richter’s current engagements include PELLÉAS Pelléas et Mélisande Teatro alla Scala Milan, GRIMALDO Rodelinda De Nationale Opera Amsterdam and BÉNÉDICT Béatrice et Bénédict Oper Köln. His most recent projects were IDOMENEO (title role) Wiener Staatsoper, Teatro alla Scala, DON OTTAVIO Don Giovanni Teatro alla Scala, Opernhaus Zürich, NHK Symphony Orchestra Tokyo, DES GRIEUX Manon Grand Théâtre de Genève, La Clemenza di Tito (title) Teatro Real Madrid, FIERRABRAS (title role), BELFIORE La Finta Giardiniera Teatro alla Scala. Recent concerts include Die Schöpfung Verbier Festival, L’enfance du Christ Théâtre des Champs-Elysées and Beethoven IX Wiener Symphoniker in China (Philippe Jordan).

Past engagements include BELMONTE Die Entführung aus dem Serail, HYLAS Les Troyens, DON OTTAVIO, TAMINO Die Zauberflöte, and FROH Das Rheingold Opéra Bastille, HYLAS Staatsoper Hamburg, PELLÉAS Wiener Staatsoper, Opéra de Lyon, Orchestre symphonique de Montréal, Teatr Wielki Warsaw, TAMINO Salzburger Festspiele, DON OTTAVIO and LE CHEVALIER DE LA FORCE Les Dialogues des Carmélites Bayerische Staatsoper München, CASTOR Castor and Pollux Ensemble Pygmalion, ROSSILLON Die Lustige Witwe Grand Théâtre de Genève, TITO (title) Opéra de Nancy, ORPHÉE Orphée aux Enfers Opéra de Lausanne and Lully’s Atys (title) and ALPHONSE Zampa Les Arts Florissants at Opéra Comique. Further highlights have included ERIK Der fliegende Holländer, BÉNÉDICT Béatrice et Bénédict, DON OTTAVIO, ECCLITICO Il Mondo della Luna Theater an der Wien, PARIS La Belle Hélène, FRITZ La Grande Duchesse de Gérolstein Théâtre du Châtelet, DON OTTAVIO, Lucio Silla (title) by J.Ch. Bach Opernhaus Zürich, and FERRANDO Così fan tutte Théâtre des Champs-Élysées.

In concert, he has appeared with Berliner Symphoniker, MDR Orchestra, Orchestre Philharmonique de Strasbourg, Les Musiciens du Louvre at the Salzburger Pfingsfestspiele and Orchestra Sinfonica della Rai, Salle Gaveau de Paris, Tonhalle Zürich, Mozart Tage Luzern, Styriarte Graz, Gewandhaus Leipzig, L’Accademia di Santa Cecilia, Konzerthaus Wien, Budapest Festival Orchestra on tour to London, Berlin, Amsterdam, Bruges and Baden-Baden. He has worked with Philippe Jordan, William Christie, Adam Fischer, Kent Nagano, Marc Minkowski, Jeffrey Tate, Ivor Bolton, Nikolaus Harnoncourt, Fabio Luisi, Sir Neville Marriner, Sylvain Cambreling, Asher Fisch, Peter Schneider, Raphaël Pichon, Laurent Pelly, Christof Loy, Nikolaus Lehnhoff, Keith Warner, and Kasper Holten. Bernard studied in Neuchâtel and was a member of the Opera Studio Bienne.

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