Accueil / A voir / 1 Don Giovanni + 1 Lucia + 1 Otello = des Pêcheurs ! Opera Australia, du 5 juillet au 11 octobre 2008 (part. 1)

1 Don Giovanni + 1 Lucia + 1 Otello = des Pêcheurs ! Opera Australia, du 5 juillet au 11 octobre 2008 (part. 1)

Don Giovanni 2008Don Giovanni – Mozart
Sydney Opera House : 5 Jul – 10 Sept

Meet the ulti­mate Love Rat. Char­ming and uns­cru­pu­lous, Don Gio­van­ni has sto­len kisses and bro­ken hearts across the conti­nent. And wouldn’t you fall for a man who looks into your eyes and sings a mel­ting Mozart sere­nade ?

Caught in fla­grante, on the run from an ex, and wan­ted for mur­der, life is get­ting com­pli­ca­ted, but the Don can­not resist ano­ther quick affair. Has opera’s great Casa­no­va gone a step too far ? Find out as Mozart makes the sim­plest of melo­dies reveal the most pro­found truths.

Joshua Bloom is Lepo­rel­lo, Rachelle Dur­kin and Kate Lad­ner play Don­na Anna and Cathe­rine Car­by is Don­na Elvi­ra. As the Don, we wel­come Hun­ga­rian Gabor Bretz, fresh from appea­rances in Buda­pest, Salz­burg and La Sca­la, Milan, for his Aus­tra­lian debut.

Gabor BretzGabor Bretz – Don Giovanni (until Aug 9)

Gabor Bretz was born in 1974. In 1997 — 1999 he stu­died at the Vocal Soloist Depart­ment of the Bela Bar­tok Conser­va­to­ry in Buda­pest, Hun­ga­ry.

Then he conti­nued at the Ferenz Liszt Aca­de­my of Music, where he stu­died at both Soloist and Ope­ra Depart­ments. He has taken mas­ter courses with J. Hama­ri and E. Mar­ton in Buda­pest and with R. Doring in Baden, Aus­tria.

In 2004 he recei­ved the Diplo­mas of Ope­ra Sin­ger, Solo Sin­ger and Tea­cher. After gra­dua­tion from the aca­de­my Gabor wor­ked at the Hun­ga­rian State Ope­ra in Buda­pest, and since 2005 — at the Komische Oper in Ber­lin.

Gabor Bretz is a prize-win­ner of nume­rous sin­ging com­pe­ti­tions held in Hun­ga­ry, Aus­tria, Ger­ma­ny and Ita­ly. His crow­ning suc­cess came to him in 2005 when he won the pres­ti­gious « Maria Cal­las Grand Prix » in Athens, Greece.

Andrew Schroeder

Andrew Schroeder – Don Giovanni

Most recent enga­ge­ments for Andrew Schroe­der have inclu­ded Tar­qui­nius in the Rape of Lucre­tia at the TEATRO REAL , Barak in Strauss’ Frau Ohne Schat­ten as well as Man­dry­ka in Strauss’ Ara­bel­la at the THEATRE DU CAPITOLE in Tou­louse, Enri­co in Donizetti’s Lucia di Lam­mer­moor with the SCOTTISH OPERA, Kova­lyov in Shostakovitch’s Le Nez in Lis­bon, Lord Not­tin­gham in Donizetti’s Rober­to Deve­reux at the TEATRO DONIZETTI in Ber­ga­mo, Don Alfon­so in Mozart’s Cosi fan Tutte in Mar­seille, Figa­ro in Rossini’s Il Bar­biere di Sivi­glia at the WELSH NATIONAL OPERA, the title role in Chausson’s Le Roi Arthus at LA MONNAIE in Brus­sels, The Cap­tain in J. Adams’ Death of Klin­ghof­fer at the EDINBRUGH FESTIVAL, Ger­mont in La Tra­via­ta, Nel­lo in Pia de’ Tolo­mei and Figa­ro in Il Bar­biere di Sivi­glia all with LA FENICE, Oreste in Gluck’s Iphi­ge­nie en Tau­ride at the WELSH NATIONAL OPERA, Kova­lyov in Shostakovitch’s Le Nez with OPERA NANTES / ANGERS, Mor­ris Town­send in Damase’s L’Héritière and Pros­do­ci­mo in Rossini’s Il Tur­co in Ita­lia with OPERA MARSEILLE, Falke in Die Fle­der­maus at the OPÉRA BASTILLE, the title role Nixon in Chi­na with OPERA BOSTON, Junius in Britten’s Rape of Lucre­tia with the NEW YORK CITY OPERA, Mahler’s Das Lied Von Der Erde sta­ged by Chris­to­pher Alden with the EOS ENSEMBLE of New York, Ambro­sio in the Weber/Mahler Die Drei Pin­tos with the AMERICAN SYMPHONY ORCHESTRA, Mar­cel­lo in Puccini’s LA Bohème with the WEST AUSTRALIAN OPERA, Valen­tin in Gounod’s Faust with OPERA AUSTRALIA and in concert, the Faure Requiem with the Ope­ra du Rhin and selec­tions from Des Kna­ben Wun­de­rhorn and the Rue­ckert Lie­der with the AMERICAN SYMPHONY ORCHESTRA at New York’s Alice Tul­ly Hall.

Future invi­ta­tions include among others ; Count Alma­vi­va in Mozart’s Le Nozze di Figa­ro, The­see in Enescu’s King Oedi­pus as well as Valen­tin in Gounod’s Faust at the THEATRE DU CAPITOLE in Tou­louse, Yoshio in Toshio Hosokawa’s ope­ra Han­jo at the OPERA DE LYON, Aga­men­non in Gluck’s Iphi­ge­nie en Aulide with the OPERA DU RHIN, La Mon­naie – Brus­sels and Thea­ter An der Wien, as well as the title role in Don Gio­van­ni at the SYDNEY OPERA HOUSE.

In pre­vious sea­sons Andrew Schroe­der has per­for­med the title role in Britten’s Billy Budd with the THEATRE DU CAPITOLE, Oreste in Gluck’s Iphi­ge­nie en Tau­ride with the NEW YORK CITY OPERA and the SPOLETO FESTIVAL USA, Esca­mil­lo in Bizet’s Car­men in Ham­burg ; Clau­dio in a co-pro­duc­tion of Berlioz’s Bea­trice et Bene­dict with the GRAND THÉÂTRE DE TOURS and the THEATRE DE NANCY ET LORRAINE, Aeneas in Purcell’s Dido and Aeneas with the GRAND THEATRE DE GENIEVE, Figa­ro in Rossini’s Il Bar­biere di Sivi­glia with the CANTURBURY OPERA in New Zea­land, Esca­mil­lo in Car­men with the BERKSHIRE OPERA, Count Alma­vi­va in Mozart’s Le Nozze di Figa­ro with UTAH OPERA, title role of Tchaikovsky’s Eugene One­gin at the THEATRE DU CAPITOLE and the ENGLISH NATIONAL OPERA, the title role of Henze’s Der Prinz von Hom­burg at the SPOLETO FESTIVAL USA, Esca­mil­lo in Car­men and Nick Sha­dow in Stravinsky’s The Rake’s Pro­gress at the TEATRO CARLO FELICE in Genoa, Valen­tin in Faust and Gugliel­mo in Cosi fan Tutte with the VANCOUVER OPERA, Kova­lyov in Shostakovitch’s Le Nez with the OPERA MUNICIPALE DE LAUSANNE, Gugliel­mo in Cosi fan Tutte with OPERA PACIFIC, WASHINGTON OPERA at the Ken­ne­dy Centre and the BOSTON BAROQUE ENSEMBLE. Mr Schroe­der has also per­for­med the role of Jesus in Jona­than Miller’s sta­ged ver­sion of Bach’s St Mat­thew Pas­sion at BAM in New York.

Rachelle Durkin

Rachelle Durkin – Donna Anna (until Jul 31)

Aus­tra­lian sopra­no Rachelle Dur­kin is one of opera’s most stri­king young artists per­for­ming at major houses world­wide to cri­ti­cal acclaim. After win­ning the 2001 Metro­po­li­tan Ope­ra Natio­nal Coun­cil Audi­tions, Ms. Dur­kin joi­ned the Metro­po­li­tan Opera’s Lin­de­man Young Artists Deve­lop­ment Pro­gram. She made her Metro­po­li­tan Ope­ra debut as the First Hand­mai­den in Sly and has sub­se­quent­ly appea­red as Clo­rin­da in Cene­ren­to­la, Young Girl and Naked Vir­gin in Moses und Aaron, Bare­na in Jenufa,Benvenuto Cel­li­ni, Kons­tanze in Die Entfüh­rung aus dem Serail, Masha in Pique Dame, Elvi­ra in L’Italiana in Alge­ri, and First Flo­wer Mai­den in Par­si­fal, which she per­for­med at the Salz­burg Fes­ti­val as part of the Met tour with Maes­tro Levine. In recent sea­sons, Ms. Dur­kin per­for­med a varie­ty of reper­toire inclu­ding Armi­da in Rinal­do and Coun­tess Alma­vi­va in Le Nozze di Figa­ro with Ope­ra Aus­tra­lia, Cune­gonde in Can­dide with the Bel­lin­gham Fes­ti­val of Music and her Car­ne­gie Hall debut as the sopra­no soloist in Handel’s Mes­siah.

Other acclai­med por­trayals include Corin­na in Chi­ca­go Ope­ra Theater’s pro­duc­tion of Il Viag­gio a Reims, Don­na Anna in Don Gio­van­ni in Bris­bane, Perth and San Anto­nio and a Gala Concert with Jose Car­re­ras in Perth entit­led Ope­ra Under the Stars. Ms. Dur­kin is also a dis­tin­gui­shed ora­to­rio artist with reper­toire ran­ging from the ear­ly works of Han­del, Bach, Mozart and Bee­tho­ven to the more recent works of Bern­stein, Ger­sh­win and Sond­heim. She has appea­red with the Metro­po­li­tan Ope­ra Orches­tra, the New Cho­ral Socie­ty of Cen­tral West­ches­ter, Auck­land Phil­har­mo­nia, Hong Kong Phil­har­mo­nic Orches­tra and the Syd­ney, Mel­bourne, Ade­laide and West Aus­tra­lian Sym­pho­ny Orches­tras.

In 2007 and 2008, she sings Gil­da (Rigo­let­to) in Spain and Ade­laide, the title role in Alci­na in Syd­ney and Mel­bourne, Ange­li­ca (Orlan­do) and Don­na Anna in Syd­ney and returns to the Metro­po­li­tan as Miss Schle­sen in Satya­gra­ha and Fras­qui­ta in Car­men.

Kate Ladner

Kate Ladner – Donna Anna

Kate Lad­ner was born in Ade­laide, Aus­tra­lia and stu­died sin­ging at the Queens­land Conser­va­to­rium of Music. In 1992/93, Kate was a prin­ci­pal young artist with two major Aus­tra­lian ope­ra com­pa­nies and in 1994, she won the Aus­tra­lian Ope­ra Trust prize. In 1995, Kate moved to Lon­don to begin her Euro­pean career ; per­for­ming throu­ghout England, Ire­land, Ger­ma­ny and Aus­tria. She conti­nues to be a regu­lar guest artist in Aus­tra­lia and New Zea­land. In 1998, Kate made her debut with Staats­thea­ter Stutt­gart as Blonde (Die Ent­fuh­rung Aus Dem Serail), a guest contract which conti­nued into 2004. For this role, Kate was nomi­na­ted as Best New Artist by Opern Welt Maga­zine.

Kate’s career has been domi­na­ted by Mozart’s ope­ras. High­lights include Zer­li­na for Ope­ra New Zea­land in which Kiri Te Kana­wa played Don­na Elvi­ra ; Blonde in Stutt­gart ; A ‘Green Room’ Nomi­na­tion for her Susan­na for Ope­ra Aus­tra­lia ; Contes­sa for Ope­ra Hol­land Park ; A debut at the Syd­ney Ope­ra House in the role of Don­na Anna in 2005 ; and more recent­ly, per­for­mances there of Vitel­lia in Cle­men­za di Tito.

Other roles include : Juliette (Romeo et Juliette) for West Aus­tra­lian Ope­ra and the State Ope­ra of South Aus­tra­lia ; Manon (Manon) for English Tou­ring Ope­ra ; Nanet­ta (Fal­staff), Elvi­ra (L’Italiana in Alge­ri) for Gar­sing­ton Ope­ra ; Mar­zel­line (Fide­lio) for ope­ra Nor­thern Ire­land ; Vivet­ta (L’Arlesiana), Lisa (La Son­nam­bu­la) for Ope­ra Hol­land Park ; Fras­qui­ta (Car­men) Royal Albert Hall, Vio­let­ta (La Tra­via­ta) for Ope­ra Aus­tra­lia, Syd­ney, State Ope­ra of South Aus­tra­lia and English Tou­ring Ope­ra ; Elea­nor of Aqui­tane (King) for Ste­phen Barlow’s pre­miere ope­ra at Can­ter­bu­ry Cathe­dral ; and Micae­la (Car­men) for Graz Oper. Kate has per­for­med in both Aus­tra­lian pro­duc­tions of Wagner’s Ring Cycle in 1998 sin­ging Der Wald­vo­gel, Woglinde, and in 2004, Freia, Helm­wige and third Norn . This lat­ter pro­duc­tion, conduc­ted by Asher Fisch, and relea­sed by Mel­ba Recor­dings, has recei­ved excep­tio­nal inter­na­tio­nal reviews.

In 2007, Kate per­for­med Vio­let­ta in three dif­ferent pro­duc­tions. For Ope­ra Aus­tra­lia in the Syd­ney Ope­ra House ; Mace­do­nia Ope­ra, Skopje ; and most recent­ly in Lon­don for Ope­ra Hol­land Park. Future enga­ge­ments include Don­na Anna and later in 2008, Des­de­mo­na (Otel­lo) for Ope­ra Aus­tra­lia. Kate now resides in the south of France.

Amy Wilkinson

Amy Wilkinson – Zerlina

A resident of Bris­bane since her child­hood, Amy Wil­kin­son was born in Fre­mantle, Wes­tern Aus­tra­lia. Having begun vocal trai­ning while still in her teens, she cur­rent­ly stu­dies with Dr. Mar­gre­ta Elkins in Bris­bane as well as with Ruth Fal­con in New York and Pro­fes­sor Sou­trios Papul­kas in Ger­ma­ny. In 2004, she gra­dua­ted from the Queens­land Conser­va­to­rium of Music with a Bache­lor of Music degree. Whil­st stu­dying, she per­for­med Rose in Rud­di­gore, Elsie in The Yeo­men of the Guard and Yum-Yum in The Mika­do for Queens­land Musi­cal Theatre.

Amy Wil­kin­son has par­ti­ci­pa­ted in Mas­ter Classes with seve­ral dis­tin­gui­shed tea­chers inclu­ding Sarah Wal­ker (at the Aus­tra­lian Natio­nal Aca­de­my of Music) and Sir Donald McIn­tyre. She has also under­ta­ken courses in French and Ita­lian at the Uni­ver­si­ty of Queens­land and in Ger­man at the More­ton Ins­ti­tute.

As a Young Artist with Ope­ra Queens­land in 2003, she appea­red as soloist in a varie­ty of concert pro­grammes inclu­ding Ope­ra in the Rain­fo­rest, Music Beneath the Stars and Moon­light and Mozart and the Movies. A high­light of 2003 was a Proms concert with The Queens­land Orches­tra under the baton of Michael Chris­tie. She has also per­for­med two reci­tals for 4MBS – Jane Aus­ten : The Music of her Time and a Schu­ber­tiade in their Fes­ti­val of Clas­sics series. Other appea­rances include a concert with the Aus­tra­lian Army Band – Music at Mid­day and Rossini’s Petite Messe Solen­nelle.

In 2004, Amy Wil­kin­son made her role debut as Pami­na in Mozart’s The Magic Flute at the Queens­land Conser­va­to­rium of Music as part of the Bris­bane Fes­ti­val. As a result of win­ning the Metro­po­li­tan Ope­ra Audi­tions Award at the Syd­ney Ope­ra House in 2004, she com­ple­ted three months of stu­dy at the Metro­po­li­tan Ope­ra, New York. In 2005, she sang the title role in Scott Joplin’s Tree­mo­ni­sha along with Haydn’s Sea­sons for the Queens­land Choir and per­for­med Bar­ba­ri­na in Mozart’s Le nozze di Figa­ro for Ope­ra Queens­land.

Amy Wil­kin­son won the Aus­tra­lian Sin­ging Competition’s Ope­ra Awards in 2006 ; 2007 saw her per­for­ming Gre­tel in Han­sel and Gre­tel for Ope­ra Queens­land, Ober­to in Alci­na for Ope­ra Aus­tra­lia, Micae­la in OzOpera’s natio­nal tour of Car­men and Handel’s Mes­siah for the Queens­land Orches­tra. In 2008, she will sing Zer­li­na in Don Gio­van­ni and Fras­qui­ta in Car­men for Ope­ra Aus­tra­lia.

Henry Choo

Henry Choo – Don Ottavio (until Aug 9)

A for­mer mem­ber of the Aus­tra­lian Boys Choir, Hen­ry Choo attai­ned an Asso­ciate Diplo­ma in Sin­ging in 1997 under the tute­lage of Noel Ancell, and fur­the­red his vocal and ope­ra­tic stu­dies at the Mel­ba Conser­va­to­rium of Music and the Aus­tra­lian Natio­nal Aca­de­my of Music, as well as the Young Artist Pro­gram of Ope­ra Queens­land, and the Mof­fatt Oxen­bould Young Artist Deve­lop­ment Pro­gram of Australia’s natio­nal ope­ra com­pa­ny, Ope­ra Aus­tra­lia.

For Ope­ra Aus­tra­lia, Hen­ry has also per­for­med the roles of Nemo­ri­no in L’elisir D’amore, Gerald in Lak­mé, Fer­ran­do in Così Fan Tutte, Count Alma­vi­va in Il Bar­biere di Sivi­glia, Oronte in Alci­na, Rinuc­cio in Gian­ni Schic­chi, Hotel Por­ter in Death in Venice, The Defen­dant in Trial By Jury, Fani­nal Major-Domo in Der Rosen­ka­va­lier, Herald in Rinal­do, as well as tenor soloist in Mozart’s Reqiuem and excerpts from Mitri­date re di Pon­to. His other roles include the pre­miere of Rus­sell in Bus­king Hugs for Oz Ope­ra, Bor­sa in Rigo­let­toHMS Pina­fore, Nan­ki-Poo in The Mika­do, Fre­de­rick in The Pirates of Pen­zance, and Gabriel von Eisen­stein in Die Fle­der­maus. Henry’s unders­tu­dy work has inclu­ded Rami­ro (La Cene­ren­to­la), Tito (La Cle­men­za di Tito), Don Otta­vio (Don Gio­van­ni), Tami­no (Die Zau­ber­flöte), Tybalt (Romeo et Juliet), Remen­da­do (Car­men), and 1st Jew (Salome).

Hen­ry has per­for­med soloist in many ora­to­rio works inclu­ding Mozart’s Requiem, Handel’s Mes­siah and Sam­son, Beethoven’s 9th Sym­pho­ny, Bach’s St John Pas­sion, Rossini’s Petite Messe Solem­nelle, and has sung reci­tals for various groups inclu­ding the Ope­ra Socie­ty of Vic­to­ria, Eas­tern Metro­po­li­tan Ope­ra, The Aus­tra­lian Robert Stolz Socie­ty, and The Lie­der Socie­ty of Vic­to­ria. He most recent­ly per­for­med Mendelsohn’s Eli­jah along­side bari­tone Ted­dy Tahu Rhodes with Auck­land Phil­har­mo­nia.

In 2008 Hen­ry will per­form the roles of Don Otta­vio in a new Ope­ra Aus­tra­lia pro­duc­tion of Don Gio­van­ni, Nadir in Les pêcheurs de perles, as well as concert work both local­ly and abroad.

Andrew GoodwinAndrew Goodwin – Don Ottavio

Andrew Good­win was born in Syd­ney, Aus­tra­lia. In 1999 Andrew moved to Rus­sia where he stu­died voice at the St. Peters­burg Conser­va­to­ry under the direc­tion of Pro­fes­sor Lev Moro­zov, gra­dua­ting with a Bache­lor of Music in June 2005.

While based in Rus­sia, Andrew was a regu­lar soloist with the St. Peters­burg Phil­har­mo­nic Orches­tra. His concert enga­ge­ments in Rus­sia have taken him to many dif­ferent cities and venues across the coun­try.

Andrew’s ope­ra per­for­mances include Fen­ton from Verdi’s Fal­staff with Ope­ra Aus­tra­lia and Lens­ky from Tchaikovsky’s Eugene One­gin with the Bol­shoi Ope­ra, Mos­cow. He per­for­med the role of Awwa­kum in the world pre­miere of Rodion Shchedrin’s Boya­ri­na Moro­zo­va and in July 2007 he retur­ned to Ope­ra Aus­tra­lia to per­form Bel­monte from The Abduc­tion from the Sera­glio.

During his stu­dies Andrew has won a num­ber of awards and scho­lar­ships. Recent­ly the Tait Memo­rial Trust Scho­lar­ship. In 2005, 2nd place in the Yele­na Obrast­zo­va Sin­ging Com­pe­ti­tion in St. Peters­burg. In 2004 he recei­ved the Mar­tin Bequest Tra­vel­ling Scho­lar­ship, the Sir Robert Askin Ope­ra­tic Tra­vel­ling Scho­lar­ship, and the Aus­tra­lian Ope­ra Audi­tions Com­mit­tee “Joan Suther­land and Richard Bonynge” Scho­lar­ship.

The past year Andrew has been stu­dying at the Royal Aca­de­my of Music with Den­nis O’Neill and Ingrid Sur­ge­nor. Andrew is gra­te­ful for the sup­port by the Aus­tra­lian Music Foun­da­tion and ARS Musi­ca Aus­tra­lis.
Joshua Bloom

Joshua Bloom – Leporello (until Aug 9)

Joshua Bloom stu­died at the Uni­ver­si­ty of Mel­bourne, gra­dua­ting with a Bache­lor of Arts (His­to­ry) in 1996. He also holds an A.Mus.A diplo­ma in Double-Bass from the A.M.E.B. In 2002 he was awar­ded the Ope­ra Foun­da­tion Aus­tra­lia Wie­ner Staat­so­per award, and has been a fina­list in The Aus­tra­lian Sin­ging Com­pe­ti­tion (Mathy Awards), Metro­po­li­tan Ope­ra Awards (Aus­tra­lian Regio­nal Finals), McDonald’s Ope­ra­tic Aria, the Mel­bourne Herald-Sun Aria and the Ita­lian Ope­ra Award.

He made his Ope­ra Aus­tra­lia debut as Figa­ro in an OzO­pe­ra pro­duc­tion of The Bar­ber of Seville. Fur­ther roles for OA have inclu­ded Schau­nard in La Bohéme, Dan­di­ni in La Cene­ren­to­la, Figa­ro in Le Nozze di Figa­ro and Nick Sha­dow in The Rake’s Pro­gress. He won Green Room Awards for his per­for­mances as Dan­di­ni (2003) and Nick Sha­dow (2006).

As the reci­pient of the Wie­ner Staat­so­per Award, Joshua com­men­ced at the Wie­ner Staat­so­per for four months in Janua­ry 2002. Here he per­for­med Fio­rel­lo in Il Bar­biere and the Impe­rial Com­mis­sio­ner in Mada­ma But­ter­fly.

During his enga­ge­ment in San Fran­cis­co Opera’s Mero­la Pro­gram and then as an Adler Fel­low, Joshua Bloom per­for­med the fol­lo­wing roles : title role in Gian­ni Schic­chi, Bar­to­lo in Il Bar­biere di Sivi­glia, Don Alfon­so in Così fan tutte, Gari­bal­do in Rode­lin­da, Ange­lot­ti in Tos­ca, Mar­chese D’Obigny in La Tra­via­ta, The Black Poli­ti­cian in the US pre­miere of Le Grand Macabre and 1st Mate in Billy Budd.

2006 saw per­for­mances as Nick Sha­dow in Ope­ra Australia’s The Rake’s Pro­gress, Count Rib­bing in Un Bal­lo in Masche­ra for San Fran­cis­co Ope­ra and appea­rances in Salome and Die Zau­ber­flöte for San­ta Fe Ope­ra ; Joshua also sang the bass solos in Verdi’s Requiem for the Mel­bourne Cho­rale in Handel’s Mes­siah for Syd­ney Phil­har­mo­nia.

In 2007, he sang the title role in Le Nozze di Figa­ro for Ope­ra Australia’s Syd­ney sea­son, per­for­med Don Pedro in Bea­trice et Bene­dict for Chi­ca­go Ope­ra Thea­ter, sang Chris­tus in Bach’s St. Mat­thew Pas­sion for Syd­ney Phil­har­mo­nia, the bass solos in the Mes­siah for the Royal Mel­bourne Phil­har­mo­nia and was soloist with the West Aus­tra­lian and Mel­bourne Sym­pho­ny Orches­tras in Elgar’s The Dream of Geron­tius. He also joi­ned the ros­ter of the Metro­po­li­tan Ope­ra, New York cove­ring Bryn Ter­fel as Mozart’s Figa­ro. In 2008, he returns to Ope­ra Aus­tra­lia as Dan­di­ni, as well as sin­ging Esca­mil­lo in Car­men and Lepo­rel­lo in Don Gio­van­ni and makes his Metro­po­li­tan Ope­ra debut as Maset­to.

A propos de Fabien

Après avoir travaillé le chant au Centre d’Arts Polyphoniques de Paris, il entre en 1995 au Conservatoire de Gagny où il est l’élève d’Evelyne Razimowsky en classe de Chant et de Jean-Louis Calvani en classe d’Art Lyrique. Il poursuit ensuite son perfectionnement avec Florence Montana au Conservatoire de Vincennes, puis au Conservatoire de Musique de Nouvelle Calédonie.

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