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Calendar

Gilbert Conducts Wagner's Das Rheingold

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Location

David Geffen Hall

Directions
Price Range

$34-130

Duration

2 hour & 30 minutes without intermission

Date & Times

1

Jun, 2017

Thursday, 7:30 PM

3

Jun, 2017

Saturday, 8:00 PM

6

Jun, 2017

Tuesday, 7:30 PM

Event Info

Das Rheingold is the first of the four operas that comprise Wagner’s Der Ring des Nibelungen, the largest operatic work ever composed, and launches the incredible sound world of the cycle. Led by Alan Gilbert, the New York Philharmonic and a fabulous cast of singers introduce you to a titanic landscape of gods, giants, dwarves, and water spirits in this complete concert version of the opera.

Program To Include

Wagner

Das Rheingold (complete, in concert)

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Artists

Alan Gilbert

Conductor

Alan Gilbert

Conductor

Alan Gilbert

Conductor

The 2016–17 season marks Alan Gilbert’s eighth and final season as Music Director of the New York Philharmonic. The first native New Yorker to hold the post, he has sought to make the Orchestra a point of pride for the city and country. The Financial Times called him “the imaginative maestro-impresario in residence.”

Mr. Gilbert and the Philharmonic have forged artistic partnerships, introducing the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence — held in the 2016–17 season by Esa-Pekka Salonen and violinist Leonidas Kavakos, respectively — as well as Artist-in-Association, currently held by pianist Inon Barnatan, who inaugurated the role in the 2014–15 season; an annual festival, which this season is Beloved Friend — Tchaikovsky and His World, featuring Russian-born Semyon Bychkov conducting works by Tchaikovsky as well as composers he was influenced by and whom he influenced; CONTACT!, the new-music series; and the NY PHIL BIENNIAL, an exploration of today’s music by a wide range of contemporary and modern composers. During his tenure the Philharmonic launched the New York Philharmonic Global Academy, partnerships with cultural institutions to offer training of pre-professional musicians, often alongside performance residencies. These include the Shanghai Orchestra Academy and Residency Partnership and collaborations with Santa Barbara’s Music Academy of the West and the Shepherd School of Music at Rice University. Alan Gilbert and the Philharmonic also launched a five-year partnership with the University Musical Society at the University of Michigan.

Alan Gilbert concludes his final season as Music Director with four programs that reflect signature themes of his tenure, featuring works that hold particular meaning for him and musicians with whom he has formed close relationships. These include a pairing of Beethoven’s Ninth Symphony with Schoenberg’s A Survivor from Warsaw; Wagner’s complete Das Rheingold in concert; the New York Premiere of Composer-in-Residence Esa-Pekka Salonen’s Wing on Wing alongside Artist-in-Residence Leonidas Kavakos in Brahms’s Violin Concerto and the New York Premiere of Aeriality by Anna Thorvaldsdottir, the second Kravis Emerging Composer, an honor introduced during Alan Gilbert’s tenure; and an exploration of how music can effect positive change in the world. Other 2016–17 season highlights include four World Premieres; Dvořák’s Symphony No. 9, From the New World, as part of the New York Philharmonic’s 175th anniversary celebrations; Mahler’s Fourth Symphony and Handel’s Messiah; the World Premiere presentation of Gershwin’s score to Manhattan, performed live to the film; Ligeti’s Mysteries of the Macabre; a concert with friends celebrating his 50th birthday; works by John Adams marking the composer’s 70th birthday; and the EUROPE / SPRING 2017 tour. As part of the New York Philharmonic Global Academy, he will lead the Orchestra in its third annual performance residency through the Shanghai Orchestra Academy and Residency Partnership, and will lead the Philharmonic and Academy Festival Orchestra together in Santa Barbara through the partnership with Santa Barbara’s Music Academy of the West.

Last season’s Philharmonic highlights included R. Strauss’s Ein Heldenleben to welcome newly appointed Concertmaster Frank Huang; Carnegie Hall’s 125th anniversary Opening Night Gala; premieres by William Bolcom, Franck Krawczyk, Magnus Lindberg, and Marc Neikrug; works by Sibelius in celebration of the 150th anniversary of the composer’s birth; as well as Mahler’s Das Lied von der Erde and an all-Mozart program. He also co-curated the second NY PHIL BIENNIAL — during which he conducted works by Boulez and Stucky, in tribute to the late composers, as well as premieres by William Bolcom, John Corigliano, and Per Nørgård, the second recipient of The Marie-Josée Kravis Prize for New Music at the New York Philharmonic, an honor introduced during Alan Gilbert’s tenure. The Music Director also performed violin in Messiaen’s Quartet for the End of Time alongside Philharmonic principals and Mr. Barnatan. Under the New York Philharmonic Global Academy he led the Orchestra in its second performance residency in Shanghai and made his second appearance conducting the Music Academy of the West’s Academy Festival Orchestra.

Previous high points among Mr. Gilbert’s Philharmonic appearances include critically celebrated staged productions such as Ligeti’s Le Grand Macabre (2010) and Janáček’s The Cunning Little Vixen (2011), both cited as the top cultural events of their respective years; Philharmonic 360 at Park Avenue Armory (2012), the acclaimed spatial music program featuring Stockhausen’s Gruppen; A Dancer’s Dream: Two Works by Stravinsky (2013, and later presented in movie theaters internationally); a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson that was broadcast on Live From Lincoln Center, earning Mr. Gilbert an Emmy nomination for Outstanding Music Direction (2014); and the U.S. Premiere of a staging of Honegger’s Joan of Arc at the Stake featuring Oscar winner Marion Cotillard (2015). Other highlights include the first two editions of the NY PHIL BIENNIAL; World Premieres of works by Christopher Rouse, Magnus Lindberg, Peter Eötvös , and composers featured on CONTACT!; the score from 2001: A Space Odyssey, performed live to the film; Mahler’s Second Symphony, Resurrection, on A Concert for New York on September 10; the Verdi Requiem; the conclusion of The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; six concerts at Carnegie Hall; and ten tours around the world. In August 2015 he led the Mahler Chamber Orchestra in the U.S. Stage Premiere of George Benjamin’s Written on Skin, co-presented by the New York Philharmonic and Lincoln Center, the inaugural production of the Lincoln Center–New York Philharmonic Opera Initiative.

Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, The Philadelphia Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orchestre philharmonique de Radio France. He has appeared at The Metropolitan, Los Angeles, Zurich, Royal Swedish, and Santa Fe opera companies. This season Mr. Gilbert returns to the foremost European orchestras, records Beethoven’s complete piano concertos with the Academy of St Martin in the Fields and Inon Barnatan, and conducts Gershwin’s Porgy and Bess at Milan’s Teatro alla Scala, his first time leading a staged opera there.

In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where he is also the first holder of Juilliard’s William Schuman Chair in Musical Studies. He made his acclaimed Metropolitan Opera debut in 2008 leading John Adams’s Doctor Atomic; the DVD and Blu-ray of this production received the 2012 Grammy Award for Best Opera Recording. Renée Fleming’s Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. Earlier releases garnered Grammy Award nominations and top honors from the Chicago Tribune and Gramophone magazine. He received his second Emmy nomination for Outstanding Music Direction for Sinatra: Voice for a Century, broadcast on Live From Lincoln Center in 2015. Mr. Gilbert conducted Messiaen’s Des Canyons aux étoiles on a recent album recorded live at the Santa Fe Chamber Music Festival.

Alan Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). He received Honorary Doctor of Music degrees from Curtis in May 2010 and from Westminster Choir College in May 2016, and in December 2011 he received Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.” In 2014 he was elected to The American Academy of Arts & Sciences, in 2015 he received a Foreign Policy Association Medal for his commitment to cultural diplomacy and was named Officier de l’Ordre des Arts et des Lettres, and in 2016 he received New York University’s Lewis Rudin Award for Exemplary Service to New York City in recognition of his leadership in making New York one of the world’s great centers for music and the arts.

Visit Alan Gilbert's Official Website

Learn more about Alan Gilbert
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Eric Owens

Bass-Baritone

Eric Owens

Bass-Baritone

Eric Owens by Paul Sirochman

Bass-Baritone

Bass-baritone Eric Owens launched the 2016–17 season with his role debut as Wotan in David Pountney’s new production of Wagner’s Das Rheingold at Lyric Opera of Chicago. He sings a trio of operas at The Metropolitan Opera: the house’s premiere of Kaijo Saariaho’s L’Amour de Loin, a new production of Dvořák’s Rusalka under Mark Elder, and a revival of Mozart’s Idomeneo conducted by James Levine. Other highlights include recitals with Susanna Phillips at Carnegie Hall and Lawrence Brownlee at Lyric Opera of Chicago, The Metropolitan Opera’s 50th anniversary at Lincoln Center gala, and, for the third time, he joins the Chicago Symphony Orchestra’s Negaunee Music Institute to present an interactive recital for incarcerated youth with Riccardo Muti and Joyce DiDonato. He rounds out his season singing Rimsky-Korsakov’s Le Coq d’Or at Santa Fe Opera.

Mr. Owens collaborates regularly with Muti, Simon Rattle, Michael Tilson Thomas, Alan Gilbert, Esa-Pekka Salonen, Franz Welser-Möst, Andrew Davis, Osmo Vänskä, and Donald Runnicles. In addition to performing with leading opera companies in Europe and North America, he has appeared with orchestras including the New York, Berlin, and Los Angeles philharmonic orchestras; Chicago, Boston, Toronto, Bavarian Radio, Atlanta, St. Louis, Baltimore, and Swedish Radio symphony orchestras; and the Cleveland and Minnesota Orchestras. Mr. Owens is featured on several recordings including excerpts from Richard Strauss operas (Telarc) and John Adams’s A Flowering Tree (Nonesuch Records) and Doctor Atomic (Sony).

A Philadelphia native, Eric Owens began studying piano at age six, and at eleven began formal oboe training under Lloyd Shorter of the Delaware Symphony and Louis Rosenblatt of The Philadelphia Orchestra. He studied voice while an undergraduate atTempleUniversity and as a graduate student at the Curtis Institute of Music. He currently studies withArmen Boyajian. He serves on the boards of the National Foundation for Advancement in the Arts and Astral Artistic Services.

Learn more about Eric Owens

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Jamie Barton

Mezzo-Soprano

Jamie Barton

Mezzo-Soprano

Jamie Barton

Mezzo-Soprano

Recipient of the 2015 Richard Tucker Award and winner of the 2013 BBC Cardiff Singer of the World Main and Song prizes, mezzo-soprano Jamie Barton made her critically acclaimed debut in the role of Adalgisa in Bellini’s Norma at The Metropolitan Opera; she followed this with her equally noted debut as Fricka in Wagner’s Das Rheingold for Houston Grand Opera, and she returns to The Met this season as Giovanna Seymour in Donizett’s Anna Bolena. In recent seasons Ms. Barton has made her debut with several major conductors — including Franz Welser-Möst, for Britten’s Spring Symphony with The Cleveland Orchestra, and Osmo Vänskä, for Mahler’s Symphony No. 3 with the Iceland Symphony Orchestra — and she gave recital debuts in both Frankfurt and Edinburgh.

This season Jamie Barton makes an impressive set of company debuts: as Adalgisa for Los Angeles Opera’s production of Norma under James Conlon, Cornelia in Handel’s Giulio Cesare for Oper Frankfurt under Erik Nielsen, Waltraute and Second Norn in Wagner’s Götterdämmerung for Washington National Opera conducted by Philippe Auguin, and Fenena in Verdi’s Nabucco at the Royal Opera House, Covent Garden, under Maurizio Benini. She also makes her BBC Proms debut at the start of this season, performing Brahms’s Alto Rhapsody with Marin Alsop and the Orchestra of the Age of Enlightenment, and she returns to Iceland to reprise the piece under Hannu Lintu.

Learn more about Jamie Barton

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Christopher Purves

Baritone

Christopher Purves

Baritone

Baritone

Baritone Christopher Purves has a great affinity for contemporary repertoire and has originated roles in a number of World Premieres, most notably as Protector in George Benjamin’s Written on Skin at the Festival d’Aix en Provence, Royal Opera House, Bavarian Staatsoper, Netherlands Opera, and Théâtre du Capitole de Toulouse, and as Walt Disney in Philip Glass’s The Perfect American at Teatro Real Madrid and English National Opera. Also an established Baroque singer, recent highlights include appearances with the Orchestra of the Age of Enlightenment, Academy of Ancient Music, Gabrieli Consort, and Le Concert d’Astree. In 2012 his debut solo CD, Handel’s Finest Arias for Base Voice, was released on Hyperion with Arcangelo and Jonathan Cohen.

Highlights of his 2015–16 season include performances of Written on Skin on tour with the Mahler Chamber Orchestra, including at Lincoln Center’s Mostly Mozart Festival, conducted by Alan Gilbert, as well as his Opéra national de Paris debut in Schoenberg’s Moses und Aron and appearances as Alberich in Wagner’s Gotterdammerung at Bavarian Staatsoper, in Wagner’s Siegfried with Canadian Opera Company and Houston Grand Opera, and as the Gamekeeper in Janáček’s The Cunning Little Vixen at Glyndebourne Festival Opera. In concert, Mr. Purves can be heard in Handel’s Acis and Galatea with La Nuova Musica, Mozart’s Requiem with the Royal Philharmonic Orchestra, a Baroque program with Le Concert d’Astrée, and Handel’s Messiah with Handel and Haydn Society.

Recent highlights include The Perfect American with Opera Queensland; the title role in Puccini’s Gianni Schicchi at Opera North; performances as Golaud in Debussy’s Pelléas et Mélisande at Welsh National Opera; and Handel’s Saul at Glyndebourne Festival Opera. Other operatic highlights include appearances at the Royal Opera House, Teatro alla Scala, Salzburger Festspiele, Staatsoper Berlin, Netherlands Opera, Welsh National Opera, and English National Opera.

Learn more about Christopher Purves

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Russell Thomas

Tenor

Russell Thomas

Tenor

Russell Thomas by Dario Acosta

Tenor

Tenor Russell Thomas was the Atlanta Symphony Orchestra’s 2014–15 artist-in-residence. Mr. Thomas’s current season begins with his role debut as Turiddu in Mascagni’s Cavalleria rusticana with Deutsche Oper Berlin, followed by Pollione in Bellini’s Norma with Los Angeles Opera and three more role debuts: the title role in Verdi’s Stiffelio in a new production at Oper Frankfurt, Don José in Bizet’s Carmen at Canadian Opera Company, and Florestan in Beethoven’s Fidelio with Cincinnati Opera. In concert, he will sing Lazarus in John Adams’s The Gospel According to the Other Mary in Strasbourg and in recital at London’s Wigmore Hall. Future engagements include debuts with Lyric Opera of Chicago and the Salzburg Festival, as well as returns to The Metropolitan Opera and Canadian Opera Company. Mr. Thomas’s last season started with performances of Beethoven’s Symphony No. 9 with the Atlanta Symphony Orchestra, where he returned for Christmas concerts, solo recitals, and master classes as part of his residency. He participated in Peter Sellars’s English National Opera production of The Gospel According to the Other Mary, followed by Pollione in Norma with San Francisco Opera and Valencia’s Palau de les Arts Reina Sofia; the title role in Gounod’s Faust with Michigan Opera Theatre; Manrico in Verdio’s Il trovatore with Cincinnati Opera; and Ismaele in Verdi’s Nabucco with Seattle Opera. Previous engagements include concert performances of The Gospel According to the Other Mary (Ravinia Festival), Verdi’s I masnadieri (Washington Concert Opera), the title role in Verdi’s Don Carlo (Deutsche Oper Berlin debut), Andres in Berg’s Wozzek (The Metropolitan Opera), the title role in Offenbach’s The Tales of Hoffmann (Seattle Opera), and the Prince in Dvořák’s Rusalka (Opera North Carolina). Russell Thomas made his New York Philharmonic debut in the Finale from Act I of Mozart’s Don Giovanni as part of Philharmonic 360, co-presented with Park Avenue Armory, in June 2012, and he most recently appeared with the Philharmonic in January 2015 in the Verdi Requiem; both performances were led by Music Director Alan Gilbert.

Learn more about Russell Thomas

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Kelley O'Connor

Mezzo-Soprano

Kelley O'Connor

Mezzo-Soprano

Kelley O-Connor

Mezzo-Soprano

Mezzo-soprano Kelley O’Connor’s engagements in the 2016–17 season include Wagner’s Wesendonck Lieder with Matthias Pintscher and the Indianapolis Symphony Orchestra; John Adams’s The Gospel According to the Other Mary with Simon Rattle and the Berlin Philharmonic, as well as with David Robertson and the St. Louis Symphony at both St. Louis’s Powell Symphony Hall and Carnegie Hall; and Mahler’s Das Lied von der Erde with Louis Langrée and the Detroit Symphony Orchestra and with Donald Runnicles and the Atlanta Symphony Orchestra. Additionally, Ms. O’Connor performs Mahler’s Symphony No. 3 with Jaap van Zweden and the Hong Kong Philharmonic, and she sings the role of Erda in concert performances of Wagner’s Das Rheingold with the New York Philharmonic and Alan Gilbert.

In recent seasons Ms. O’Connor performed Adams’s El Niño with the London Philharmonic Orchestra and Vladimir Jurowski, Ravel’s Shéhérazade with Esa-Pekka Salonen and London’s Philharmonia Orchestra at the Edinburgh Festival, Mahler’s Eighth Symphony with Jirí Belohlávek and the BBC Symphony Orchestra, Berio’s Folk Songs with Daniel Harding and the London Symphony Orchestra, J.S. Bach’s St. Matthew Passion with Robert Spano and the Atlanta Symphony Orchestra, Stravinsky’s Les Noces with David Robertson and the St. Louis Symphony, and Elgar’s Sea Pictures and Britten’s Spring Symphony with Edward Gardner and the City of Birmingham Symphony Orchestra. 

Kelley O’Connor’s discography includes a Grammy Award–winning recording of Osvaldo Golijov’s Ainadamar and Peter Lieberson’s Neruda Songs with Spano and the Atlanta Symphony, Adams’s The Gospel According to the Other Mary with Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and The Cleveland Orchestra.

Learn more about Kelley O'Connor

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Morris Robinson

Bass

Morris Robinson

Bass

Morris Robinson

Bass

Morris Robinson, a graduate of The Metropolitan Opera Lindemann Young Artist Development Program, made his Metropolitan Opera debut in 2002 in Beethoven’s Fidelio. He has since appeared there as Sarastro in Mozart’s The Magic Flute, Ferrando in Verdi’s Il trovatore, and in productions of Verdi’s Aida and Nabucco, Wagner’s Tannhäuser, Berlioz’s Les Troyens, and Richard Strauss’s Salome. He has also appeared at the San Francisco Opera, Chicago Lyric Opera, Los Angeles Opera, Houston Grand Opera, Washington National Opera, Dallas Opera, and the Aix-en-Provence Festival. His many roles include Osmin in Mozart’s The Abduction from the Seraglio, Ramfis in Aida, Sparafucile in Verdi’s Rigoletto, Commendatore in Mozart’s Don Giovanni, Grand Inquisitor in Verdi’s Don Carlos, Timur in Puccini’s Turandot, and Fasolt in Wagner’s Das Rheingold.

Also a prolific concert singer, Mr. Robinson recently made his BBC Proms debut in a televised performance of the Verdi Requiem. He has also appeared in concert in Carnegie Hall, and with The Philadelphia Orchestra, Los Angeles Philharmonic, and Met Chamber Orchestra; the Chicago, Boston, Montreal, and São Paulo symphony orchestras; and at the Ravinia, Mostly Mozart, Tanglewood, Cincinnati May, Verbier, and Aspen festivals. In recital he has been presented by Spivey Hall in Atlanta, the Philadelphia Chamber Music Society, and The Metropolitan Museum of Art.

This season, Mr. Robinson makes his debut at Milan’s Teatro alla Scala in the title role of the Gershwins’ Porgy and Bess and returns to The Met for The Magic Flute and Aida, and Los Angeles Opera in The Abduction from the Seraglio. Upcoming engagements include returns to the Boston Symphony Orchestra, and the Ravinia and Tanglewood festivals and his New York Philharmonic debut as Fasolt in a complete concert version of Wagner’s Das Rheingold, led by Alan Gilbert in June 2017.

Mr. Robinson’s first album, Going Home, was released by Decca.

Learn more about Morris Robinson

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Stephen Milling

Bass

Stephen Milling

Bass

Stephen Milling

Bass

Copenhagen-born Stephen Milling trained at the Royal Danish Academy of Music before joining the Royal Danish Opera in 1994 as a principal bass, where he debuted a number of roles now central to his repertoire. Hailed as a foremost interpreter of the Wagner repertoire, he enjoys an ongoing collaboration with some of today’s leading conductors. Highlights of the 2016–17 season include Der Fliegende Holländer at Royal Danish Opera, conducted by Jun Märkl; Parsifal at Deutsche Oper Berlin with Donald Runnicles; Das Rheingold in semi-staged performances with Sächsische Staatskapelle Dresden, conducted by Christian Thielemann at Suntory Hall Tokyo; Die Meistersinger von Nürnberg at Royal Opera House, Covent Garden, conducted by Antonio Pappano; and Mozart’s The Magic Flute at Bayerische Staatsoper with Constantin Trinks.

Mr. Milling’s recent performances include the roles of Hagen in Götterämmerung at Bayreuther Festspiel under Marek Janowski; Gurnemanz in Parsifal at Osterfestspiele Salzburg under Christian Thielemann and at Wiener Staatsoper under Simon Rattle; Hunding in Die Walküre at Royal Opera House, Covent Garden, under Antonio Pappano and at The Metropolitan Opera with Valery Gergiev; König Marke in Tristan und Isolde at Staatsoper Berlin under Daniel Barenboim, Wiener Staatsoper under Franz Welser-Moest and with the Los Angeles Philharmonic under Esa-Pekka Salonen; and Daland in Der fliegende Holländer at the Bayerische Staatsoper under Asher Fisch and with the San Francisco Symphony under Michael Tilson-Thomas.

Learn more about Stephen Milling

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Rachel Willis-Sørensen

Soprano

Rachel Willis-Sørensen

Soprano

Soprano

Soprano Rachel Willis-Sørensen won first prize at both the 2014 Operalia competition and the 2011 International Hans Gabor Belvedere Singing Competition, and she was a winner of the 2010 Metropolitan Opera National Council Auditions. She holds bachelor’s and master’s degrees from Brigham Young University and is a recent alumna of the Houston Grand Opera Studio. Recent and forthcoming concert performances include Mahler’s Symphony No. 2, Resurrection, with the Dresden Staatskapelle and Myung-Whun Chung; Beethoven’s Ninth Symphony with both the Accademia Santa Cecilia and Antonio Pappano and the Los Angeles Philharmonic  and Leonard Slatkin at the Hollywood Bowl; Mahler’s Eighth Symphony with the Israel Philharmonic Orchestra at the Dresden Festival;  the role of Agathe in Weber’s Der Freischütz in concert with the Orchestra of the Age of Enlightenment and Mark Elder; and Richard Strauss’s Four Last Songs with the Milwaukee Symphony Orchestra and Edo de Waart.

Ms. Willis- Sørensen recently made her debuts at The Metropolitan Opera and the Royal Opera House, Covent Garden, as Countess Almaviva in Mozart’s The Marriage of Figaro, and has sung Gutrune in Wagner’s Götterdämmerung at Covent Garden as well as Fiordiligi in Mozart’s Così fan tutte and Donna Anna in Mozart’s Don Giovanni at Houston Grand Opera. For three years she was an ensemble member at Dresden Semperoper, where she sang the title role in Léhar’s The Merry Widow, and the roles of Fiordiligi, Vitellia  in Mozart’s La clemenza di Tito, Elettra in Mozart’s Idomeneo, Diemut in R. Strauss’s Feuersnot, Rosalinde in J. Strauss II’s Die Fledermaus, and Mimi in Puccini’s La bohème. This season she sings Eva in Wagner’s Die Meistersinger von Nürnberg at San Francisco Opera, Elsa in Wagner’s Lohengrin with Deutsche Oper Berlin, Donna Anna in Mozart’s Don Giovanni at the Vienna Staatsoper, and the Countess at both the Vienna Staatsoper and The Metropolitan Opera.

Learn more about Rachel Willis-Sørensen

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Brian Jagde

Tenor

Brian Jagde

Tenor

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Christian Van Horn

Bass-Baritone

Christian Van Horn

Bass-Baritone

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Peter Bronder

Tenor

Peter Bronder

Tenor

Peter Bronder

Tenor

Born in England, of German-Austrian parentage, tenor Peter Bronder began his career as principal tenor at Glyndebourne and Welsh National Opera, singing many leading roles in the Italian lyric repertoire. He has since moved into the more dramatic, predominantly German repertoire. He made his American debut as Mime in Wagner’s Siegfried with The Cleveland Orchestra, followed by his Metropolitan Opera debut in 2005. He has also sung the role at  Teatro alla Scala in Milan, Staatsoper Berlin, Theatro Municipal de Sao Paolo, Gran Teatre del Liceu in Barcelona, and Teatro Massimo in Palermo, and has performed as Loge in Wagner’s Das Rheingold at the Edinburgh International Festival, Oper Stuttgart, and the Ruhrtriennale Festival.

Other signature roles include Herod in R. Strauss’s Salome in Milan, Madrid, Frankfurt, São Paolo, Hong Kong, and at the Bolshoi; he reprises the character with Frankfurt Radio Symphony in the 2016–17 season. He has sung the title roles of Wagner’s Rienzi (in Frankfurt), Britten’s Peter Grimes (Bielefeld), Pfitzner’s Palestrina (Frankfurt and Zurich), and Zemlinsky’s Der Zwerg (Frankfurt and Seville). He has performed the roles of Erik in Wagner’s The Flying Dutchman (Rouen and Paris), Shuisky in Mussorgsky’s Boris Godunov (Torino), and Luzio Das Liebesverbot (Frankfurt and Madrid).

Peter Bronder is a regular guest at the Royal Opera House, Covent Garden; roles have included Arturo in Donizetti’s Lucia di Lammermoor, Cassio in Verdi’s Otello, Pedrillo in Mozart’s The Abduction from the Seraglio, Andres in Berg’s Wozzeck, Selem in Stravinsky’s The Rake’s Progress, First Jew in Salome, and Trabuco in Verdi’s Forza del Destino. In 2016–17 he returns there as Yarushkin in Shostakovich’s The Nose. Recent engagements also include performances as the Moneylender in Rachmaninoff’s The Miserly Knight with the London Philharmonic Orchestra, Hauptmann in Wozzeck at Oper Frankfurt, and concerts with the Orchestre Philharmonique de Strasbourg. Other notable credits include the Bregenz Festival, Bayerische Staatsoper, La Monnaie, and San Francisco Opera.

Learn more about Peter Bronder

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Jennifer Zetlan

Soprano

Jennifer Zetlan

Soprano

Jennifer Zetlan

Soprano

Soprano Jennifer Zetlan has made her debut at The Metropolitan Opera, New York City Opera, Seattle Opera, Santa Fe Opera, and Florida Grand Opera. She has performed in concert with the New York Philharmonic, Saint Paul Chamber Orchestra, the Indianapolis Symphony, and The Juilliard Orchestra, and has been heard at Carnegie Hall in recital and with Oratorio Society of New York, Musica Sacra, and the New York Youth Symphony. In the 2015–16 season she makes her Broadway debut in a new production of Jerry Bock & Sheldon Harnick’s Fiddler on the Roof, directed by Bartlett Sher. Ms. Zetlan also performs the role of Despina in Mozart’s Così fan tutte with the Milwaukee Symphony Orchestra. In the 2014–15 season, she appeared as Mozart/Donna Anna (a role she created in 2014 at the Ojai Festival) in Steven Stucky and Jeremy Denk’s opera The Classical Style at Carnegie Hall. She also performed in Gotham Chamber Opera’s production The Tempest Songbook,with music by Henry Purcell and Kaija Saariaho, and created the role of Fanny in the World Premiere of Ricky Ian Gordon’s Morning Star with Cincinnati Opera. Her concert appearances have included Ligeti’s Requiem with the American Symphony Orchestra at Carnegie Hall, and Bernstein’s Chichester Psalms and Orff’s Carmina burana with the Oratorio Society of New York.

Learn more about Jennifer Zetlan

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Jennifer Johnson Cano

Mezzo-Soprano

Jennifer Johnson Cano

Mezzo-Soprano

Jennifer Johnson Cano

Mezzo-Soprano

Winner of a 2012 Richard Tucker Career Grant and 2014 George London Award, mezzo-soprano Jennifer Johnson Cano joined The Metropolitan Opera’s Lindemann Young Artist Development Program in 2008 and made her Met debut in the 2009–10 season. As first prize winner of the 2009 Young Concert Artist International Auditions, she made recital debuts with her husband, pianist Christopher Cano, at Carnegie Hall’s Weill Recital Hall and at The Kennedy Center. She has appeared with the Los Angeles Philharmonic and San Francisco, Atlanta, Pittsburgh, Baltimore and Utah symphony orchestras. 

In the 2016–17 season Ms. Cano performs the title role in Bizet’s Carmen at Boston Lyric Opera, the Priestess in Verdi’s Aida at The Met, and Wellgunde in Wagner’s Das Rheingold with the New York Philharmonic conducted by Alan Gilbert. Other U.S. orchestral engagements include Beethoven’s Ninth Symphony with Markus Stenz and the Cincinnati Symphony Orchestra, Bruckner’s Te Deum with Christopher Warren-Green and the Charlotte Symphony Orchestra, and J.S. Bach’s Cantata No. 34 with The Cleveland Orchestra and vocal ensemble Seraphic Fire, conducted by Franz Welser-Möst.

Jennifer Johnson Cano, a native of St. Louis, Missouri, has a winde-ranging discography, with recent recordings including Howard Shore’s A Palace Upon the Ruins, which features her with pianist Lang Lang, the Kronos Quartet, and others. She also appears on the Naxos release of Bernstein’s Symphonies Nos. 1 and 2 with the Baltimore Symphony Orchestra, led by Marin Alsop. In 2014 Ms. Cano released her debut recital recording, Unaffected: Live from the Savannah Voice Festival.

Learn more about Jennifer Johnson Cano

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Tamara Mumford

Mezzo-Soprano

Tamara Mumford

Mezzo-Soprano

Tamara Mumford by Dario Acosta

Mezzo-Soprano

In the 2015–16 season, mezzo-soprano Tamara Mumford returns to The Metropolitan Opera as Smeaton in Donizetti’s Anna Bolena and reprises her role in Daniel Schnyder’s Yardbird at the famed Apollo Theater in New York. She also appears on tour with the Los Angeles Philharmonic in Mahler’s Symphony No. 3 in the U.S. and Europe, makes her Netherlands Radio Philharmonic debut in John Adams’s The Gospel According to the Other Mary, and returns to the Utah Symphony for Mahler’s Symphony No. 8.

A graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford made her debut there as Laura in Verdi’s Luisa Miller, and has since appeared in more than 140 performances with the company, including in Verdi’s Rigoletto, Richard Strauss’s Ariadne auf Naxos, Puccini’s Il trittico, Mascagni’s Cavalleria rusticana, John Adams’s Nixon in China, Tchaikovsky’s The Queen of Spades, Wagner’s complete Ring cycle, Mozart’s The Magic Flute, Britten’s A Midsummer Night’s Dream, and Berg’s Wozzeck. Other recent opera engagements have included Kaija Sariaaho’s L’Amour de loin at the Festival d’opéra de Québec, Tchaikovsky’s Iolanta at Dallas Opera, Ottavia in Monteverdi’s L’incoronazione di Poppea at the Glyndebourne Opera Festival and BBC Proms, and the title roles in Henze’s Phaedra and Britten’s The Rape of Lucretia as well as the premiere of Yardbird at Opera Philadelphia.

Ms. Mumford has appeared with the New York Philharmonic, Los Angeles Philharmonic, and San Francisco, Dallas, and Milwaukee symphony orchestras, and at the Hollywood Bowl and the Ravinia, Tanglewood, Grand Teton, Vail, and La Jolla Summer music festivals. She made her Carnegie Hall debut in 2005 in the Richard Goode and Friends concert series in Zankel Hall, and has been presented in recital in New York by the Marilyn Horne Foundation and The Metropolitan Museum of Art, and in Philadelphia by the Philadelphia Chamber Music Society.

A native of Sandy, Utah, Tamara Mumford holds a bachelor’s degree from Utah State University and was a member of the Yale Opera program.

Learn more about Tamara Mumford

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Special Thanks
These concerts are made possible by The Susan and Elihu Rose Foundation, Inc., with special underwriting from the Howard and Sarah D. Solomon Foundation.

Additional support is provided by the Helen Huntington Hull Fund.
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