World Premiere by Matthew Aucoin
In partnership with the American Modern Opera Company (AMOC) and Stanford Live, Philiharmonia brings to the Bay Area the world premiere of a powerful new production conceived and created by AMOC, featuring new music by 2018 MacArthur Fellow Matthew Aucoin. The No One’s Rose, a unique piece of music theatre, has at its center the poetry of prolific 20th century poet and Holocaust survivor Paul Celan, which asks a difficult question: what can be recovered after a whole world disappears? AMOC and Philharmonia’s musicians and dancers join forces for this powerful meditation on loss and recovery. Commissioned by PBO and Stanford Live, The No One’s Rose brings some of today’s most important opera stars and contemporary dancers to the Bay Area, directed by AMOC’s co-artistic director Zack Winokur and choreographer Bobbi Jene Smith. Anthony Roth Costanzo and Davóne Tines return to Philharmonia, while Julia Bullock and Paul Appleby make their PBO debuts.
The No One’s Rose A World Premiere featuring music ranging from J.S. Bach to new music by Matthew Aucoin
American Modern Opera Company
Julia Bullock, soprano
Anthony Roth Costanzo, countertenor
Paul Appleby, tenor
Davóne Tines, bass-baritone
Bobbi Jene Smith, Or Schraiber, and Julia Eichten, dancers
Keir Gogwilt, violin
Coleman Itzkoff, cello
Jonny Allen, percussion
Philharmonia Baroque Orchestra
Matthew Aucoin, conductor
Zack Winokur, director
Bobbi Jene Smith, choreographer
John Torres, lighting designer
Carlos Soto, costume designer
Cath Brittan, producer
Made possible with support from The Koret Foundation and The Ross E. Armstrong & Jonas (Jay) K. Stern Jews & Music Fund
Wednesday, October 7 @ 7:30 pm | Bing Concert Hall, Stanford
Friday, October 9 @ 8 pm | Herbst Theatre, San Francisco
Saturday, October 10 @ 8 pm | First Congregational Church, Berkeley
Sunday, October 11 @ 4 pm | First Congregational Church, Berkeley
Join us for the Pre-Concert Talk forty-five minutes prior to the concert start time.
MATTHEW AUCOIN – conductor and composer
Matthew Aucoin (b. 1990) is an American composer, conductor, writer, and pianist. He was awarded a MacArthur Fellowship in 2018, and is both Artist-in-Residence at Los Angeles Opera and co-artistic director of the newly-formed American Modern Opera Company.
Aucoin is currently at work on a new opera, Eurydice, which is a collaboration with the playright Sarah Ruhl. Eurydice has been co-commissioned by the Metropolitan Opera and the Los Angeles Opera.
The role of Artist-in-Residence at Los Angeles Opera, created for Aucoin, fuses his work as composer and conductor. Aucoin has conducted LA Opera mainstage productions ranging from Verdi’s Rigoletto to Philip Glass’s Akhnaten; he has also conducted his own works, including the opera Crossing, and founded a new late-night concert series, AfterHours. In addition, Aucoin coaches the singers in LA Opera’s Young Artist program, and advises the company on new music.
The American Modern Opera Company (AMOC) is Aucoin’s newest project: an ensemble of some of the rising generation’s most exciting singers, instrumentalists, and dancers. In Aucoin’s words, AMOC is “an opera company, a new-music ensemble, a rock band, and a touring theater troupe, rolled into one.” The ensemble has an annual festival at Cambridge’s American Repertory Theater, and has been in residence at the Park Avenue Armory and Harvard University. Aucoin and AMOC are at work on commissions from the Philharmonia Baroque Orchestra and San Francisco’s ODC Theater.
Aucoin’s orchestral and chamber music has been commissioned and performed by such artists as Yo-Yo Ma, Zurich’s Tonhalle Orchestra, Salzburg’s Mozarteum Orchestra, the Brentano Quartet, the Los Angeles Chamber Orchestra, the Orchestra of St. Luke’s, tenor Paul Appleby, countertenor Anthony Roth Costanzo, and Chanticleer. Aucoin’s operas include Crossing (2015), commissioned by the American Repertory Theater; and Second Nature (2015), a chamber opera for the young, commissioned by the Lyric Opera of Chicago. Crossing has gone on to productions at the Brooklyn Academy of Music and Los Angeles Opera; Second Nature has been performed all over the continent, including productions at the Canadian Opera Company and the Music Academy of the West.
In addition to his work in Los Angeles, Aucoin regularly guest-conducts nationally and internationally. This past summer, Aucoin made his Santa Fe Opera conducting debut leading John Adams’s Doctor Atomic, in a new production by Peter Sellars. He has also appeared with the Chicago Symphony, the Los Angeles Philharmonic, the Los Angeles Chamber Orchestra, the Rome Opera Orchestra, the Music Academy of the West, and Juilliard Opera, among others. This season, Aucoin conducts and curates the San Diego Symphony’s annual festival, entitled Hearing the Future.
Aucoin is a 2012 graduate of Harvard College (summa cum laude), where he studied with the poet Jorie Graham, and a 2014 recipient of Juilliard’s Graduate Diploma in Composition. Between 2012 and 2014, he served both as an Assistant Conductor at the Metropolitan Opera and as the Solti Conducting Apprentice at the Chicago Symphony, where he studied with Riccardo Muti.
ZACK WINOKUR – Director
With his work recently being described as “pure poetry” (Boston Globe), stage director, choreographer, and dancer Zack Winokur is recognized as one of the most innovative and exciting talents working in opera today. Future highlights include directing Sondheim’s Sunday in the Park with George with the Los Angeles Philharmonic conducted by Gustavo Dudamel and Wagner’s Tristan und Isolde – the centerpiece of Santa Fe Opera’s 2020 season.
Highlights from this season include his “rich, seamless” (New York Times) production ofThe Black Clown, an adaptation of the Langston Hughes poem starring Davóne Tines with music by Michael Schachter, at the Mostly Mozart Festival at Lincoln Center and the American Repertory Theater; his “darkly captivating” (New York Times) production of Perle Noire: Meditations for Joséphine, with music by Tyshawn Sorey, text by Claudia Rankine, and starring Julia Bullock on the grand staircase of the Metropolitan Museum of Art; Sondheim’s A Little Night Music with the Nederlandse Reisopera in collaboration with design firm Charlap Hyman & Herrero and visual artist Cynthia Talmadge; a new production of Hans Werner Henze’s El Cimarrón starring Davóne Tines, also at the Met Museum; and a new piece for the Los Angeles Dance Project at the Luma Foundation in Arles, France. Recent highlights include Monteverdi’s L’incoronazione di Poppea starring Anthony Roth Costanzo at the Cincinnati Opera; an immersive pairing of Gluck’s Orfeo and Matthew Aucoin’s Orphic Moment at Lincoln Center’s Rose Theater; Monteverdi’s Il ballo delle Ingrate with William Christie, Il Barbiere di Siviglia with Lotte de Beer at the Dutch National Opera and Rameau’s Hippolyte et Aricie with Stephen Wadsworth at Juilliard.
In 2017 Winokur founded AMOC (American Modern Opera Company). AMOC, which Winokur co-directs with composer Matthew Aucoin, is an ensemble of singers, musicians, and dancers committed to creating a body of new, discipline-colliding music-theater works. Described by the New York Times as “blindingly impressive” and “preternaturally talented,” AMOC’s productions are collaborations between its core members that range from operatic stage work to creatively curated chamber events. In its first 18 months, AMOC launched an annual Run AMOC! Festival at the American Repertory Theater, held its first major teaching and performance residency at Harvard University, was Artist-in-Residence at New York’s Park Avenue Armory, performed a new version of John Adams’ El Niño arranged specially for the company at the Met Cloisters, and made appearances at the Big Ears Festival, Clark Art Institute, and Rockport Chamber Music Festival.
In the press, Winokur has been described as being “behind some of the most interesting productions we have seen on stage and concert halls anywhere lately”(WQXR). His most recent award-winning production of The Black Clown, first a sold-out three week run at the American Repertory Theater and then a sold-out run in Lincoln Center’s Mostly Mozart Festival, was described as a “rich, seamless production…a bravura, in-the-moment entertainment and a haunted, self-conscious questioning of the ways in which it entertains” (Ben Brantley, New York Times) and received raves and features in the New York Times, The New Yorker, New York Magazine and elsewhere. Of CAGE, a staged version of John Cage’s complete Sonatas and Interludes conceived by Winokur and AMOC’s pianist Conor Hanick for Run AMOC! Festival, the New York Times said it was “ probably the best instrumental concert I have seen all year by virtue of its rethinking of the basics of what a recital might be”. His original production of Were You There was described by the Los Angeles Times as “staggering… astonishing… bringing overwhelming humanity to exactly the place where it is needed”. His production of Cavalli’s Venetian baroque masterpiece La Calisto for The Juilliard School was hailed as “one of the most elegant and imaginative shows seen in New York this season” in Opera News, garnered rave reviews in a plethora of other publications including the New York Times and Vogue, and received a nomination for Best Production of the Year in Opernwelt – the only American production to be nominated.
A truly multi-disciplinary artist, Winokur has collaborated with a diverse group of artists in a range of media, including Academy Award-nominated director Mike Figgis, pianist Rosey Chan, fashion house Boudicca, grime artist Pepstar, DJ crew A Tribe Called Red, artists Gerard & Kelly in venues from David Lynch’s Club Silencio, the Centre Pompidou, the Mies van der Rohe Farnsworth House, the Royal Opera House and the Supreme Court of the United States.
Additional productions include the The New Prince (Dutch National Opera, world premiere), Svadba (Festival d’Aix-en-Provence, Grand Theatre de Luxembourg, European premiere), Dido and Aeneas (La Nuova Musica at St John’s Smith Square), A Flowering Tree (Opera Omaha), Les Mamelles de Tirésias (Festival d’Aix-en-Provence, La Monnaie, Aldeburgh Music, DNO), Der Kaiser von Atlantis (Central City Opera, Juilliard Opera), Most of the Boys (Royal Opera House, world premiere), Mesh (International Contemporary Ensemble, world premiere), Triptych (Museum of Arts and Design), and a restaging of Episode 31 by Alexander Ekman for the Joffrey Ballet.
Winokur was born in Boston, Massachusetts and is a graduate of The Juilliard School.
JULIA BULLOCK – Soprano
American vocalist Julia Bullock is “a musician who delights in making her own rules” (New Yorker). Combining versatile artistry with a probing intellect and commanding stage presence, she has, in her early 30s, already headlined productions and concerts at some of the preeminent arts institutions worldwide. An innovative programmer whose artistic curation is in high demand, she serves as 2019-20 Artist-in-Residence of the San Francisco Symphony, while her past, present and future curatorial positions include 2018-19 Artist-in-Residence of New York’s Metropolitan Museum of Art, opera-programming host of new broadcast channel All Arts, founding member of the American Modern Opera Company (AMOC), and member of a newly created cross-disciplinary artistic team assembled by Esa-Pekka Salonen for his inaugural season as Music Director of the San Francisco Symphony (2020-21). Chosen as one of WQXR’s “19 for 19” artists to watch in 2019, Bullock is also a prominent voice of social consciousness and activism. She is, in the words of Vanity Fair, “young, highly successful, [and] politically engaged,” with the “ability to inject each note she sings with a sense of grace and urgency, lending her performances the feel of being both of the moment and incredibly timeless.”
As San Francisco Symphony’s 2019-20 Artist-in-Residence, Bullock curates and performs a range of diverse programs over the course of the season. First, with Music Director Designate Salonen, she sings Ravel’s Trois poèmes de Stéphane Mallarmé and Britten’s Les Illuminations – which is also the vehicle for her upcoming debuts with the Milwaukee and Indianapolis Symphonies, and Dublin’s RTÉ National Symphony Orchestra. The San Francisco residency continues with a program at the experimental SoundBox performance space, and concludes with an expanded version of her recital program “History’s Persistent Voice,” which she debuted at New York’s Metropolitan Museum of Art. This mixed-media concert of all-new commissioned music by American women of color aims to highlight the words, work and experiences of Black American artists, from traditional slave songs to poetry by those incarcerated. This new iteration of “History’s Persistent Voice” features four additional world premieres composed by award-winning composers Rhiannon Giddens, Camille Norment, Cécile McLorin Salvant, and Pamela Z.
To launch the 2019-20 season, Bullock sings Barber’s Knoxville: Summer of 1915, first with the Los Angeles Philharmonic and Gustavo Dudamel, and then with the Knoxville Symphony at Washington’s Kennedy Center, as part of “SHIFT: A Festival of American Orchestras.” Marking her debut at Paris’s Théâtre du Châtelet, she reprises Perle Noire: Meditations for Joséphine, the musical portrait of Josephine Baker that was conceived by Bullock in collaboration with director Peter Sellars and written for her by MacArthur “Genius” Fellows Tyshawn Sorey and Claudia Rankine. Finally, on an eight-stop transatlantic tour, the American vocalist joins French pianist Cédric Tiberghien under Katie Mitchell’s direction for the American, British, Belgian, and Russian premieres of Zauberland (“Magic Land”), a new work juxtaposing Schumann’s Dichterliebe with original songs written for her by Bernard Foccroulle and Martin Crimp.
Last season, as Artist-in-Residence of the Metropolitan Museum of Art, Bullock curated five thought-provoking programs in some of the museum’s most iconic spaces: the original version of “History’s Persistent Voice,” showcasing new Met commissions from Tania León, Courtney Bryan, Jessie Montgomery, and Allison Loggins-Hull; Perle Noire: Meditations for Joséphine, marking the first full-length musical performance ever on the museum’s grand staircase; a program of Langston Hughes poetry and musical settings, featuring New York Philharmonic principal clarinetist Anthony McGill, the Young People’s Chorus of New York, and American composers and vocalists; a new chamber arrangement of John Adams’s Christmas oratorio, El Niño, at the Cloisters; and AMOC’s account of the rarely performed work, El Cimarrón (“The Runaway Slave”) by Hans Werner Henze.
The Met residency crowned a banner 2018-19 season for Bullock. She gave the world and German premieres of Zauberland at Paris’s Théâtre des Bouffes du Nord and Germany’s Weimar Arts Festival, as well as the world premiere of Terence Blanchard’s Fire Shut Up in My Bones at the Opera Theatre of Saint Louis. She also reprised Dame Shirley, the leading role she created in John Adams’s Girls of the Golden West, for the work’s European premiere at Dutch National Opera; opened the Saint Paul Chamber Orchestra’s season; and gave a North American recital tour with her frequent piano partner, John Arida, that culminated at Carnegie Hall.
Bullock has recently made several key operatic debuts: at San Francisco Opera in the world premiere of Adams’s Girls of the Golden West, at Santa Fe Opera as Kitty Oppenheimer in Adams’s Doctor Atomic, at Festival d’Aix-en-Provence and Dutch National Opera as Anne Truelove in Stravinsky’s The Rake’s Progress, and at the English National Opera, Spain’s Teatro Real, and Russia’s Perm Opera House and Bolshoi Theatre in the title role of Purcell’s The Indian Queen. Her wide-ranging repertoire also encompasses the title roles of Massenet’s Cendrillon, Ravel’s L’enfant et les sortilèges, and Janaček’s The Cunning Little Vixen. She has also found particular success with her portrayals of two Mozart heroines: Susanna in Le nozze di Figaro and Pamina in Die Zauberflöte, which she has sung on tour in South America under the direction of Peter Brook and in concert with Gustavo Dudamel and the Los Angeles Philharmonic.
Since 2014, Bullock has embarked on high-profile North American recital tours that have also featured masterclasses and local school performances. She has sung extensively with esteemed ensembles and conductors around the world, including the BBC Symphony, Boston Symphony, London Symphony Orchestra, New York Philharmonic, NHK Symphony in Japan, Sydney Symphony, Musica Aeterna and the International Contemporary Ensemble (I.C.E.), and conductors Marin Alsop, Teodor Currentzis, Alan Gilbert, Paavo Järvi, Andris Nelsons, Sir Simon Rattle, David Robertson, and Michael Tilson Thomas.
Bullock’s growing discography already comprises a number of distinguished recordings. Her account of Quatre poèmes hindous with the London Symphony Orchestra was captured live on DVD, as was her title role appearance in Peter Sellars’s production of The Indian Queen for Sony Classical. Her starring role in Adams’s Doctor Atomic, recorded with the composer conducting the BBC Symphony Orchestra, was a nominee for the 2018 Grammy Award for Best Opera Recording, and her opening aria, “Am I in your light…” was selected as one of the New York Times’s “25 Best Musical Tracks of 2018.” Doctor Atomic marked Bullock’s second appearance on a Grammy-nominated recording, following her live account of West Side Story with Tilson Thomas and the San Francisco Symphony, a nominee for Best Musical Theater Album in 2014.
Her other honors include the 2016 Sphinx Medal of Excellence, a 2015 Leonore Annenberg Arts Fellowship, the 2015 Richard F. Gold Grant from the Shoshana Foundation, Lincoln Center’s 2015 Martin E. Segal Award, First Prize at the 2014 Naumburg International Vocal Competition, and First Prize at the 2012 Young Concert Artists International Auditions. She was featured among the “Best Classical Music of 2018” by the New York Times, Los Angeles Times, Washington Post, and Philadelphia Inquirer; as one of Opera News’s “18 to Watch in 2018-19”; and among the New York Times’s “Best Classical Music of 2016.”
Bullock’s political engagement is informed by her own mixed heritage, and she is committed to integrating community activism with her musical life. As well as trying to undertake outreach work in each city she visits, she serves on the Advisory Board of Turn The Spotlight, a foundation designed to empower women and people of color, both on stage and behind the scenes, to make a more equitable future in the arts. She has also organized and participated in benefit concerts for the FSH Society, which funds research for Muscular Dystrophy; the Medicine Initiative for New York’s Weill Medical Center; and the Shropshire Music Foundation, a non-profit serving war-affected children and adolescents through music education and performance programs in Northern Ireland, Kosovo, and Uganda.
Julia Bullock was born in St. Louis, Missouri, where she joined the artist-in-training program at Opera Theatre of Saint Louis while in high school. She went on to earn her Bachelor’s degree at the Eastman School of Music, her Master’s degree in Bard College’s Graduate Vocal Arts Program, and her Artist Diploma at New York’s Juilliard School. It was there that she first met her husband, conductor Christian Reif, with whom she now lives in Munich.
ANTHONY ROTH COSTANZO – Countertenor
Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. Recently named 2019 Musical America Vocalist of the Year, this season Mr. Costanzo returns to the Met as the title role in Akhnaten (which will be broadcast live to movie theaters around the world as part of the Met Opera’s Live in HD series), stars in the critically acclaimed production of Aci, Galatea e Polifemo in San Francisco with Philharmonia Baroque Orchestra which he originally produced for National Sawdust in 2017, and appears in recital at the Phillips Collection in Washington DC and in concert with Les Violons du Roy and with The English Concert on tour in both Europe and the US.
Mr. Costanzo is an exclusive recording artist with Decca Gold, and his first album, ARC – a collection of arias by Handel and Phillip Glass with Les Violons du Roy – was released in September 2018 and nominated for the 2019 GRAMMY Award for Best Classical Solo Vocal Album. With the album, he produced the multi-disciplinary performance installation Glass Handel, involving artists like Tilda Swinton, George Condo, and Raf Simons, and creating 9 music videos which were released as a visual album on Apple Music.”
Costanzo has appeared with many of the world’s leading opera houses including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, English National Opera, Houston Grand Opera, Opera Philadelphia, Los Angeles Opera, Canadian Opera Company, Glyndebourne Opera Festival, Dallas Opera, Teatro Real Madrid, Spoleto Festival USA, Glimmerglass Festival, and Finnish National Opera.
In concert he has sung with the New York Philharmonic, The Cleveland Orchestra, National Symphony Orchestra, San Francisco Symphony, Boston Baroque, Berlin Philharmonic, NDR at the Elbphilharmonie in Hamburg, and the London Symphony Orchestra, among others. He has also been presented in recital in Vancouver, Princeton University Concerts, Duke Performances, and at the Morgan Library in New York. He has performed at a wide-ranging variety of venues including Carnegie Hall, Lincoln Center for the Performing Arts, Versailles, The Kennedy Center, The Metropolitan Museum of Art, National Sawdust, Minamiza Kyoto, Joe’s Pub, The Guggenheim, The Park Avenue Armory, and Madison Square Garden.
A champion of new work, Mr. Costanzo recently created roles in the world premieres of Jimmy Lopez’ Bel Canto at the Lyric Opera of Chicago and Jake Heggie’s Great Scott at the Dallas Opera. He has also premiered works written for him by Matthew Aucoin, Paola Prestini, Gregory Spears, Suzanne Farrin, Bernard Rands, Scott Wheeler, Mohammed Fairouz, Steve Mackey, and Nico Muhly.
Mr. Costanzo has begun working as a producer and curator in addition to being a performer, most recently producing and starring in Glass Handel at Opera Philadelphia’s O18 Festival and subsequently co-presented by National Sawdust and St. John the Divine in New York. He has also created shows for National Sawdust, Opera Philadelphia, the Philharmonia Baroque, Princeton University, WQXR, The State Theater in Salzburg, Master Voices and Kabuki-Za Tokyo. He played Francis in the Merchant Ivory film, A Soldier’s Daughter Never Cries, for which he was nominated for an Independent Spirit Award, and Simon in Brice Cauvin’s De particulier a particulier. He is the first countertenor to host a Met Opera Live in HD Broadcast.
In 2012, Mr. Costanzo won first place in Placido Domingo’s international competition Operalia. He is also a 2009 Grand Finals Winner of the Metropolitan Opera National Council Auditions. He won a George London Award, received a career grant from the Richard Tucker Foundation, and became the first countertenor to win First Place in the Houston Grand Opera Eleanor McCullom competition, where he also won the audience choice prize. He received a Sullivan Foundation Award, and won First Place in the Opera Index Competition, the National Opera Association Vocal Competition, and the Jensen Foundation Competition.
Mr. Costanzo graduated Magna Cum Laude and Phi Beta Kappa from Princeton University where he was awarded the Lewis Sudler Prize for extraordinary achievement in the arts and where he has returned to teach. He received his Masters of Music at Manhattan School of Music and won the Hugh Ross Award for a singer of unusual promise. In his youth, he performed on Broadway and in Broadway National Tours including A Christmas Carol, The Sound of Music, and Falsettos. He began his operatic endeavors playing Miles in The Turn of the Screw.
PAUL APPLEBY – Tenor
Admired for his interpretive depth, vocal strength, and range of expressivity, tenor Paul Appleby is one of the most sought-after voices of his generation. Mr. Appleby continues to grace the stages of the world’s most distinguished concert halls and opera houses while collaborating with leading orchestras, instrumentalists, and conductors. Opera News claims, “[Paul’s] tenor is limpid and focused, but with a range of color unusual in an instrument so essentially lyric… His singing is scrupulous and musical; the voice moves fluidly and accurately.”
Paul Appleby’s 2019-2020 season includes a return to the Metropolitan Opera as Vanya Kudrjas in Katya Kabanova; debuts at the Houston Grand Opera as Jonathan in Saul and Teatro Real Madrid as Tamino in Die Zauberflöte; and his Russian debut as Tom Rakewell in The Rake’s Progress with Stanislavsky Music Theatre Moscow. Mr. Appleby’s concert appearances include Mozart’s Mass in C Minor with the Cleveland Orchestra, Beethoven’s Ninth Symphony with the San Diego Symphony, Mendelssohn’s Elijah with the Indianapolis Symphony, Schumann’s Dichterliebe with the Chamber Music Society of Lincoln Center, and works by Britten and Schubert with the Santa Fe Chamber Music Society.
Paul Appleby has recently appeared in Bernstein’s Songfest with conductor Marin Alsop and The Juilliard Orchestra in Stern Auditorium / Perelman Stage at Carnegie Hall and in a Carnegie presented solo recital at Zankel Hall; at the Glasgow Royal Concert Hall with the BBC Scottish Symphony; with the Chicago Symphony Orchestra in Beethoven’s Ninth Symphony at the Ravinia Festival and under the baton of Riccardo Muti in Schubert’s Mass No. 6; with the Edinburgh International Festival in Handel’s Samson with the Dunedin Consort; at the Gran Teatre del Liceu in the title role of Candide; with Gustavo Dudamel and the Los Angeles Philharmonic in concert performances of Die Zauberflöte and Mozart’s seldom heard Laut verkunde unsre; with the Bamberger Symphoniker for Elgar’s The Dream of Gerontius; with the orchestra and chorus of the Opéra de Paris under the direction of Philippe Jordan in Berlioz’s Béatrice et Bénédict at the Palais Garnier; and in recital at Wigmore Hall with Malcolm Martineau. He has appeared on numerous occasions in North America and Europe with his frequent musical partner Manfred Honeck, and has toured North America extensively with pianists Natalia Katyukova and Ken Noda.
Mr. Appleby’s operatic performances span both world premieres and beloved classics and have included the title role of Pelléas et Mélisande at the Metropolitan Opera, conducted by Yannick Nézet-Séguin, and at Dutch National Opera led by Stéphane Denève; the world premiere of John Adams and Peter Sellars’ Girls of the Golden West (Joe Cannon) at the Dutch National Opera and San Francisco Opera; Stravinsky’s The Rake’s Progress (Tom Rakewell) at the Festival d’Aix-en-Provence, Oper Frankfurt, Metropolitan Opera, and at Dutch National Opera in a new production by Simon McBurney; new productions of Handel’s Saul (Jonathan) directed by Barrie Kosky and led by Ivor Bolton and of Béatrice et Bénédict (Bénédict) directed by Laurent Pelly and conducted by Antonello Manacorda at the Glyndebourne Festival; Die Zauberflöte (Tamino) at San Francisco Opera and Washington National Opera; and Offenbach’s The Grand Duchess of Gerolstein (Fritz) at Santa Fe Opera. A frequent guest artist at the Metropolitan Opera, Mr. Appleby has appeared as Don Ottavio in Don Giovanni, as Belmonte in Die Entführung aus dem Serail and David in Die Meistersinger von Nürnberg conducted by James Levine, and in the lead role of Brian in the North American premiere of Nico Muhly’s Two Boys under the baton of David Robertson.
Paul Appleby’s discography includes Nico Muhly’s opera Two Boys, released by Nonesuch, recorded live by the Metropolitan Opera; DVDs of Glyndebourne’s acclaimed presentation of Handel’s Saul (2015) and Berlioz’s Béatrice et Bénédict (2016) released commercially by Opus Arte; Dear Theo, the first album dedicated solely to works by American composer Ben Moore released by Delos; and Songs and Structures, a 2018 portrait album of recent vocal and chamber works by composer Harold Meltzer released on Bridge Records; in addition to other recordings by Virgin Classics, and EMI’s Juilliard Sessions.
Mr. Appleby is a founding member of the American Modern Opera Company (AMOC), where he will be featured this season at the Caramoor Center for Music and the Arts and The Kennedy Center. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program. A recipient of an Artist Diploma in Opera Studies at The Juilliard School, he also earned a Master’s Degree from Juilliard and a Bachelor’s Degree in English Literature and in Music from the University of Notre Dame. Paul Appleby makes his home in Queens, NY with his wife Jacqueline and two daughters.
DAVÓNE TINES – Bass-Baritone
“In a just world, one in which fame was proportionate to talent, Davóne Tines would be as big a name as Kanye West” proclaimed KQEDfollowing concerts given with the San Francisco Symphony. Breakout performances were given on both sides of the Atlantic in 2015-16 when Davóne Tines made a Dutch National Opera debut in the premiere of Kaija Saariaho’s Only the Sound Remains directed by Peter Sellars. The bass-baritone was exalted by The Los Angeles Times as “the find of the season,” for performances of works by Caroline Shaw and Kaija Saariaho with the Calder Quartet and with members of ICE at the Ojai Music Festival.
Performances of 2018-19 include the world premiere of The Black Clown by composer Michael Schachter with a libretto adapted from the Langston Hughes poem by Davóne Tines and Michael Schachter; presented by the American Repertory Theater, The Black Clown– in a production directed by Zack Winokur – is a music theater experience that animates a black man’s resilience against America’s legacy of oppression by fusing vaudeville, opera, jazz, and spirituals to bring Hughes’ verse to life onstage. Kaija Saariaho’s Only the Sound Remains returns to Davóne Tines’ calendar in performances at the Teatro Real and Lincoln Center and John Adams’ El Niño serves his debut with Vladimir Jurowski conducting the Rundfunk-Sinfonieorchester Berlin. The artist reprises his acclaimed portrayal of Ned Peters in the European premiere of John Adams and Peter Sellars’ Girls of the Golden West at Dutch National Opera and he assays the title role of Henze’s El Cimarrón in a new production by Zack Winokur at the Metropolitan Museum of Arts in collaboration with the American Modern Opera Company. Davóne Tines makes a debut at Opera Theatre of Saint Louis in the world premiere of Fire Shut Up In My Bones by the creative team of Terence Blanchard and Kasi Lemmons and symphonic appearances of the season include concerts with Esa-Pekka Salonen and the Los Angeles Philharmonic, Michael Tilson Thomas and the San Francisco Symphony, and Aram Demirjian leading the Kansas City Symphony.