Graeme Broadbent (bass) was born in Halifax and studied at the Royal College of Music with Lyndon Van der Pump, where he was awarded Teaching, Opera, Postgraduate and Performing diplomas. He was invited by Yevgeny Nesterenko to study in Moscow and entered the Tchaikovsky Conservatoire in 1990, with the assistance of scholarships from the British Council and the Soviet Government. At the end of his studies in 1991, he performed a solo recital in the Rachmaninov Hall and was awarded the Tchaikovsky Conservatoire Postgraduate Diploma in solo singing.
Graeme has appeared in recital and oratorio throughout the UK and abroad; including The Dream of Gerontius & Verdi’s Requiem (Royal Albert Hall), Mahler’s 8th Symphony & Beethoven’s 9th Symphony (Royal Festival Hall) and Shostakovich’s 14th Symphony (Queen Elizabeth Hall).
In his career to date, Graeme has performed 137 operatic roles. His 43 roles for the Royal Opera, Covent Garden, include Angelotti (Tosca) with Luciano Pavarotti in his final performances there, King Marke (Tristan und Isolde), King of Egypt (Aïda), Timur (Turandot), Colline (La Bohème), Dr Grenvil (La Traviata), Nightwatchman (Die Meistersinger) and Voice of Neptune (Idomeneo); also Ariadenus (Ormindo) and Satyr & Pluto (Orpheus), with the Royal Opera at the Globe’s Sam Wanamaker Playhouse and Odin in the world premiere of Gavin Higgins’ The Monstrous Child.
Graeme made his Bolshoi Opera debut as Ratcliffe (Billy Budd) and other international roles include Claggart (St Petersburg & Genoa); Commendatore & Padre Guardiano (Genoa) and Swallow (Rome & Beijing). He has also performed roles with the Los Angeles Philharmonic, at the New York Metropolitan, Baden-Baden Festspielhaus, Paris Théâtre des Champs-Élysées & Opéra Comique, Vienna Theater an der Wien, Stuttgart Staatstheater, New Zealand Opera and the opera houses of Monte Carlo, Lyon, Montpellier, Nimes, Tourcoing and Caen; also at the Lugano, Granada, Athens and Spoleto festivals.
With Glyndebourne Graeme has sung Sarastro, Commendatore, Folz and Dr Grenvil. For Scottish Opera; Gremin, Basilio, Dr Bartolo, Father Trulove and Sergeant of Police. For Opera Holland Park; Ramfis, Commendatore, Gremin, Sparafucile and Ashby. For ENO; Basilio and Doctor (Punch & Judy). For Opera North he has performed the world premieres of two operas by Jonathan Dove; The Adventures of Pinocchio and Swanhunter. He also sang in Thomas Ades’ Powder Her Face at the Almeida and Aldeburgh festivals and for Channel 4, also released on DVD. Graeme appears on 7 other complete opera DVDs and 16 CDs, including as Don Diego in Malcolm Arnold’s The Dancing Master, which won the BBC Music Magazine Award for Opera in 2021.
Graeme Broadbent has been teaching singing for over 35 years, since gaining his RCM teaching diploma, and has had many student successes. Since becoming a professor at the RCM in 2001, many of his RCM students have gone on to sing principal roles at Covent Garden; four progressing directly from the RCM onto the Jette Parker Artists Programme, where Graeme has also been a vocal coach since 2007.
Brett Brown is an internationally acclaimed actor and baritone. A graduate of the Royal Academy of Dramatic Art, he holds a Licentiate in Singing from the AMEB and is a Fellow of the Guild of Musicians and Singers. Brett began his career with Opera Australia at the age of eight in Cavalleria Rusticana, Pagliacci, The Magic Flute, and A Midsummer Night’s Dream. His repertoire now spans the Baroque to present day, with concerts including Brett Brown sings Handel; Bach’s Ich Habe Genug; Vivaldi: Lovers and Warriors (St Stephen’s Macquarie Street); To Sleep Perchance to Dream; Postcards; and You Say You Want A Revolution (Art Gallery of NSW). He was a Guest Artist for the Italian Opera Foundation Gala and World Parks Congress Closing Ceremony (Sydney Olympic Park). For OperaUpClose he created the role of Schaunard in their Olivier award winning production of La Boheme. As an actor, Brett’s film credits include the Academy Award winning The Theory of Everything and leading roles in Orbit and Home. On stage, Brett has played leading roles with the Royal Shakespeare Company, Shakespeare’s Globe, and the BBC. Shakespeare also includes the title role of Hamlet (Gangdong Arts Centre, Seoul South Korea); Hamlet (Kronborg Castle, Elsinore Denmark); Macbeth (Little Angel Theatre); The Tempest (Lightwork, Gdansk Poland); and Dream On (Cooltour, Ostrava Czech Republic). Brett has represented Australia with his award-winning solo production of Shakespeare’s Henry V at the Gyula Shakespeare Festival, Hungary; Ostrava Shakespeare Festival, Czech Republic; Gdansk Shakespeare Festival, Poland; York International Shakespeare Festival, United Kingdom; Itaka Shakespeare Festival, Serbia; Craiova International Shakespeare Festival, FEST(in) pe Bulevard Festival, Romania; and Midsummer Scene Festival, Croatia. His West End credits include: Dear World directed by Dame Gillian Lynne; the leading role of Ben in Fishskin Trousers, a role written for him by award-winning playwright, Elizabeth Kuti; and Man in Rather Lovely Thing (Soho Theatre). Off West End credits include: Winterlove (Omnibus); Tiresias (Bloomsbury Festival); Last Seen (Almeida); Coalition: Westminster Side Story (Theatre 503); Oh! What a Lovely War (Haymarket, Basingstoke); The Poetry Show (UK Tour); Gentleman (Theatre Royal Stratford East); Despatches (The Drill Hall); Last Easter (GBS Theatre), and his solo production of Phaedra (London Festival of Emerging Artists). Future engagements include: Wagner and Ludwig (Andrew McKinnon Fine Entertainment); Troilus and Cressida (York Theatre Royal); and Henry V (Bitola Shakespeare Festival, Macedonia). Currently in development: Henry Purcell is Dead in the Doorway (Independent). His debut album with music producer Chong Lim AM is set for release in 2020.
Eamonn Dougan is an inspirational communicator with a wide-ranging repertoire and is a renowned vocal coach and baritone. Eamonn is Associate Conductor of The Sixteen, founding Director of Britten Sinfonia Voices, Music Director of the Thomas Tallis Society, and Chief Conductor for Jersey Chamber Orchestra.
Alongside Eamonn’s regular conducting, recent projects include conducting BBC Scottish Symphony for the Scottish Premiere of Taylor Scott Davis’ Magnificat at the Cumnock Tryst Festival; directing Chamber Choir Ireland alongside leadership of its CCI Studio training programme; a return tour with Ars Nova Copenhagen, and a third recording in his Morales series with De Profundis on CORO. Eamonn programmed and directed The Song Company for its May/June ’25 Australian tour, ’another very imaginative program… the brainchild of visiting Program Director Eamonn Dougan… performed to great emotional effect, and executed brilliantly.’ (Limelight) and returns to the Royal Festival Hall this December to conduct the Orchestra of the Age of Enlightenment & the Philharmonia Chorus in Handel Messiah.
Eamonn’s orchestral and opera experience has included repertoire from Purcell Dido and Aeneas, Mozart La finta giardiniera, and Cosi fan tutte to Zingari and Puccini Le Villi with London Philharmonic Orchestra and Opera Rara. As well as contemporary, classical and Baroque programmes with ensembles around the world including the likes of: Philharmonia, English National Opera (Haydn), Real Orquesta Sinfónica de Sevilla, Danish National Symphony Orchestra, Orquesta Sinfónica de Castilla y León, Accentus, Cappella Amsterdam, Britten Sinfonia, Bilbao Orkestra Sinfonikoa, Narodowe Forum Muzyki Choir, Irish Baroque Orchestra, BBC Singers, Royal Northern Sinfonia and Trondheim Baroque.
World premieres conducted include: Errolyn Wallen Triple Concerto, James MacMillan All the Hills and Vales Along with Ian Bostridge, Sir John Tavener Flood of Beauty, Ēriks Ešenvalds Aqua, Nico Muhly Looking Forward and Jóhann Jóhannsson Orphée at the Barbican.
As a passionate chamber musician, Eamonn enjoys play/direct repertoire as well as collaborating with artists such as: Nicola Benedetti, Jean-Efflam Bavouzet, Roman Simovic, Chloë Hanslip, Natalie Clien, Peter Donoghoe.
Eamonn has a highly successful five-disc Polish Baroque series with The Sixteen. The first disc, music by Bartlomiej Pekiel, was met with widespread critical acclaim and was shortlisted for a Gramophone Award. Subsequent discs in the series include The Blossoming Vine, music by Gorczycki, Helper and Protector, and music by Marcin Mielczewski.
Eamonn is consultant coach for the Royal Academy of Music and a Visiting Professor to the Guildhall School of Music and Drama, London, where he teaches ensemble singing and directs the Guildhall Consort. As Associate Director of The Sixteen, Eamonn also leads the Genesis Sixteen courses as tutor and mentor. Eamonn Dougan is managed worldwide by Percius.
German baritone André Morsch graduated with distinction at the Amsterdam Conservatory where he studied with Margreet Honig. He is a former member of William Christie’s Le Jardin des Voix and recipient of the 1st Prize and Hermann-Reutter-Prize at the prestigious ‘Internationaler Wettbewerb für Liedkunst’ in Stuttgart and the Prix Bernac from the Académie Ravel in Saint-Jean-de-Luz.
A former ensemble member of Oper Stuttgart, his roles for this house included Leporello/Don Giovanni, Papageno/Die Zauberflöte, Figaro/Le Nozze di Figaro, Figaro/Il Barbiere di Siviglia, Harlekin/Ariadne auf Naxos, Achille/Giulio Cesare, Shaunard/La Bohème, Dandini/La Cenerentola, Cithéron/Platée, Dr. Falke/Die Fledermaus, Der Graf in Boesmans’ Der Reigen, Guglielmo/Cosi fan tutte, Pluto/Orphee aux enfers, Malatesta/Don Pasquale and Fernando Ormez in the world premiere of Toshio Hosokawa’s Erdbeben.Träume, directed by Jossi Wieler.
At De Nationale Opera Amsterdam, he has sung many roles, such as Pompeo/Benvenuto Cellini, Der Graf in Schreker’s Der Schatzgräber, Jake Wallace/La Fanciulla del West, Michelotto Cibo in Schreker’s Die Gezeichneten and, most recently, Thésée in Enescu’s Oedipe, conducted by Marc Albrecht.
Other recent opera appearances include Plutone in Legrenzi’s La Divisione del Mondo, conducted by Christophe Rousset, at the Opéra National du Rhin, in Nancy and Versailles, Papageno at Grand Théâtre de Genève, Figaro/Le Nozze di Figaro, Bach’s St John Passion and Guglielmo with the Orchestra of the 18th Century, Adario/Les Indes Galantes at Opernhaus Zürich, the title role in Lully’s Cadmus et Hermione at Opéra Comique in Paris (Diapason d’Or, DVD of the year 2009/Deutsche Schallplattenkritik), Fritz/Die tote Stadt and Figaro/Le Nozze di Figaro at the Opéra national de Lorraine in Nancy, Boris in Shostakovich’s Moskva – Cheremushki at the Opéra de Lyon and Stephano in Martin’s Der Sturm at the Concertgebouw Amsterdam.
In concert, he has worked with, amongst others, the Royal Concertgebouw Orchestra, the Gewandhausorchester Leipzig, the Tonhalle Orchester Zürich, Kioi Hall Chamber Orchestra,
the Beethoven Orchester Bonn, Les Talens Lyriques, Le Poème Harmonique, Les Arts Florissants, Les musiciens du Louvres, Akademie für alte Musik Berlin, Het Residentie Orkest, the Dutch Radio Philharmonic Orchestra, Danish Radio Symphony Orchestra and conductors such as Frans Bruggen, Jaap van Zweden, Ingo Metzmacher, James Gaffigan, Hervé Niquet, Christophe Rousset, William Christie, Marc Minkowski, Vincent Dumestre, Carlo Rizzi, Ivor Bolton, Kenneth Montgomery, Marcus Creed, Reinbert de Leeuw, Jan Willem de Vriend, Sylvain Cambreling and Edo de Waart.
Most recent engagements include Bach’s Saint John Passion and B-minor Mass with Les Arts Florissants, Beethoven 9 with Concert Olympique, Handel’s Messiah with the NDR Chor at Elbphilharmonie Hamburg, Papageno in Mozart’s Magic Flute and Jesus in Bach’s Matthew Passion at Theater Basel, Malatesta in Donizetti’s Don Pasquale at Opera Dijon, the world premiere of Jan Mueller Wieland’s Maria with the Balthasar Neumann Ensemble and Thomas Hengelbrock at the Ruhrtriennale Festival, Brahms’ Requiem, Haydn’s Jahreszeiten and the title role in Don Giovanni with the Orchestra of the 18 Century, Britten’s War Requiem with Het Gelders Orkest, Mozart’s Krönungsmesse with the Cuban European Youth Orchestra and Thomas Hengelbrock, Schubert’s Stabat Materand Mendelssohn’s Elijah with the Dutch Radio Philharmonic at the Concertgebouw Amsterdam, Haydn’s Schöpfungsmesse and Mozart’s Requiem with the Brussels Philharmonic, the title role in Telemann’s Miriways with the Akademie für Alte Musik Berlin under Bernard Labadie at Laeizhalle Hamburg, Brahms’ Deutsches Requiem with the Sinfonieorchester Basel and the Cuban European Youth Orchestra under Thomas Hengelbrock in Havana and Weihnachtsoratorium with Chorwerk Ruhr in Madrid and at the Essen Philharmonie and Mozart’s Zauberflöte/Papageno at Theater Basel.
In recital, he regularly performs with Julius Drake, with appearances at the Concertgebouw Amsterdam, Tonhalle Zurich, Delft Chamber Music Festival and elsewhere.
Soprano Emma Bell offers an unrivalled dramatic intensity on the opera stage, capable of conveying raw emotion with remarkable clarity and bringing each of her characterisations convincingly to life. In recent seasons she has made several impressive debuts including at Osterfestspiele Salzburg as Venus in Romeo Castellucci’s staging of Tannhäuser under Andris Nelsons, at Bayerische Staatsoper as Eva (Die Meistersinger von Nürnberg) under Kirill Petrenko, at Deutsche Oper Berlin as both Elisabeth and Venus (Tannhäuser) under Sebastian Weigle, at Opernhaus Zürich as Leonore (Fidelio) under Markus Poschner and at Staatsoper Hamburg as Elsa (Lohengrin) under Simone Young.
Making the transition from Mozart’s leading ladies, with whom she established her operatic career, to Wagner’s heroines has cemented Bell’s reputation as one of Britain’s finest dramatic sopranos with The Scotsman praising her performance as Elisabeth, under Sir Donald Runnicles, at the 2023 Edinburgh International Festival with “Bell was sensational as the devout self-sacrificing ‘angel’, giving a powerful, highly emotional and moving performance.”
Bell was acclaimed for performances at the Royal Opera House, Covent Garden as Eva (Die Meistersinger von Nurnberg) conducted by Sir Antonio Pappano, Madame Lidoine (Dialogues des Carmélites) under Sir Simon Rattle, Elisabeth (Tannhäuser) under Harmut Haenchen and the Foreign Princess (Rusalka) conducted by Semyon Bychkov with her appearances as Strauss’ Arabella at Oper Köln under Stefan Soltesz, and her unforgettable portrayal of Barber’s Vanessa in Keith Warner’s celebrated production under Jakub Harůša at the Glyndebourne Festival bringing considerable further praise.
Other key moments in Bell’s enduring career have included performances as Anne Trulove (The Rake’s Progress), Elettra (Idomeneo) and Donna Elivira (Don Giovanni) at Teatro alla Scala, and as Contessa Almaviva (Le nozze di Figaro) and Donna Elivra at the Metropolitan Opera. In works by Britten, she has appeared in The Turn of the Screw at Teatro Real, Glyndebourne Festival Opera, The Dallas Opera and Staatsoper Unter den Linden, as Ellen Orford (Peter Grimes) at Teatro la Fenice conducted by Juraj Valčuha and in Daniel Kramer’s innovative staging of War Requiem at ENO under the baton of Martyn Brabbins.
Equally known for her work on the concert platform, upcoming performances include the role of Elizabeth I in the Spanish premiere of Brett Dean’s In spe contra spem with Orquesta y Coro Nacionales de España under Jaime Martín and Una poenitentium (soprano II) in Mahler’s Symphony No.8 with London Philharmonic Orchestra conducted by Edward Gardner.
Recent concert highlights include the world premiere of In spe contra spem with the London Philharmonic conducted by Edward Gardner and Leonore in concert at the Edinburgh International Festival with Philharmonia Orchestra under Sir Donald Runnicles. A tour of Britten’s War Requiem with Orchestre de Paris and Daniel Harding included performances in Paris, Vienna and Edinburgh and there have been performances as Magna Peccatrix (soprano I) in Mahler’s Symphony No.8 including with the National Taiwan Symphony Orchestra (Lan Shui) and Bergen Philharmonic (Gardner). She sang Matilde in Mascagni’s Silvano in staged concerts at Scottish Opera under Stuart Stratford and her portrayal of Freia in concert performances of Das Rheingold with the Hallé Orchestra and Sir Mark Elder is released on the
Hallé label. In core works such as Beethoven’s Symphony No.9, Strauss’ Vier letzte Lieder and Wagner’s Wesendonck Lieder, Bell has appeared regularly including with Gothenburg Symphony, London Philharmonic Orchestra, Helsinki Philharmonic and BBC Philharmonic Orchestra under esteemed conductors including Kent Nagano, Vladimir Jurowski, Gianandrea Noseda and Sir Antonio Pappano.
Emma Bell trained at the Royal Academy of Music and is a former winner of the prestigious Kathleen Ferrier Award.
Born in Malta, Claire Debono graduated with an MMus from the Guildhall School of Music and Drama. In 2005 she won a place in William Christie’s Le Jardin des Voix.
Claire has appeared at the Salzburg Festival, Théatre de la Monnaie, Théâtre des Champs-Elysées, Aix-en-Provence Festival, Teatro Real, Opéra Comique, Glyndebourne Opera Festival, Opéra de Versailles, Kennedy Centre in Washington DC, Teater an der Wien, Opéra de Lille, Opéra de Lyon, Théâtre du Bouffes du Nord, the Royal Albert Hall, Carnegie Hall, NCPA (Beijing), Opéra de Rouen, the Lincoln Centre, English National Opera, Barbican Centre, Edinburgh Festival, BAM and Salle Pleyel.
She played Anne Trulove in The Rake’s Progress, Ilia in Idomeneo, Despina in Così fan tutte, Zerlina and Donna Elvira in Don Giovanni, Susanna in Le Nozze di Figaro, Vespina in L’Infedeltà delusa, Minerva and Amore in Il Ritorno d’Ulisse in Patria, Fortuna, Venere and Pallade in L’Incoronazione di Poppea, La Gloire, Phenice and Lucinde in Armide (Lully), Cupid in Semele, Teofane in Ottone, Isabelle in L’Amant Jaloux , Adina in L’Elisir d’Amore , Venere and Iride in Cavalli’s La Didone , 1st lady in Die Zauberflöte , Hanako in Hanjo, several roles in Purcell’s The Fairy Queen, Madame Riss in Les Femmes Vengées , Orie and Orthésie in Les Fêtes de l’Hymen et de l’Amour , Zima in Les Indes Galantes, and L’Egyptienne in Monsieur de Pourceaugnac.
She has worked with several distinguished conductors such as William Christie, Jérémie Rhorer, Emmanuelle Haïm, Christophe Rousset, Jean-Christophe Spinosi, Paavo Järvi, Kazushi Ono, Jonathan Cohen and ensembles such as Le concert d’Astrée, The King’s Consort, Orchestre de Paris, Concerto Köln, The Ancient Academy of Music, Les Ambassadeurs, Ghislieri Consort, Le Concert de la Loge, Opera Lafayette, Le Cercle de l’Harmonie, Orchestre Philharmonique de Liège, Le Poème Harmonique and the Orchestra of the Age of the Enlightenment.
Joyce Lee Fieldsend (maiden name Boden), was born on 13.02 1948 in Torquay in the county of Devon, England
She was an undergraduate at Birmingham University from 1966 to 1969 where she gained a Bachelor of Honours Degree in Music.She also became an Associate of the Royal College of Music (ARCM) in Performance while she was at university.
1969-1970 Joyce did the Accompanying course at the Guildhall School of Music and Drama in London and in 1971 she won the Covent Garden Scholarship to go to the London Opera Centre for a postgraduate year as a repetiteur where she graduated with distinction. (Now the National Opera Studio)
Joyce began her career as a full-time repetiteur for Scottish Opera in 1973 until 1983 where she had the enormous privilege of working for many years with the founder and Music Director of the company, Sir Alexander Gibson. During these years she developed a large and varied repertoire and played many keyboard and harpsichord continuo parts on five European tours of operas by Benjamin Britten and Hans Werner Henze. Joyce continued to work part of every season for Scottish Opera until 1993 and also ran the Opera Studio at the Royal Scottish Academy of Music and Drama for 18 months from 1990. and was assistant conductor for the world premiere and recording of the opera Mary Queen of Scots by Thea Musgrave.
From 1984 until 2000, Joyce was a permanent member of the Music Staff of the Glyndebourne Festival and Touring opera where she was principal pianist and coach for at least two operas in every season.During her time at Glyndebourne she was chief coach on the video of Death in Venice, she played the harpsichord continuo on the video of La Clemenza di Tito and featured in many live broadcasts including Ermione by Rossini.
Joyce joined the San Francisco Opera music staff in 1992 where she was the senior coach in over 30 operas for the next 10 years . Among these productions it is worth mentioning the world premiere of A Streetcar Named Desire by Sir Andrè Previn in 1998.
She was able to combine San Francisco Opera and Glyndebourne work with guest engagements such as Der Ring Des Nibelungen for Seattle Opera in 2001, Der Rosenkavalier in Basel, Attila for Opera North, Tancredi for the Wexford Festival, Tosca and Der Rosenkavalier for the Hong Kong International Festival, Katya Kabanova for the New Zealand International Festival, Jenufa in Edmonton, Canada, Rigoletto in Dallas,La Calisto, I Pagliacci and Cavalleria Rusticana for the Glimmerglass Festival, New Israeli Opera and Mary Queen of Scots for the Virginia Opera Association.
From 2002 until 2016 Joyce lived in Venice,Italy and worked in many European opera houses-principally the Teatro La Fenice in Venice where she was responsible for the musical preparation of over 25 productions too numerous to mention.
Following his studies at the University of Cambridge, English conductor Adrian Kelly became a member of the Young Artists Programme at the Royal Opera House, Covent Garden, before becoming a coach at the Hamburg State Opera.
He has worked regularly at the Salzburg Festival, assisting Ingo Metzmacher on Luigi Nono’s Al gran sole carico d’amore and Wolfgang Rihm’s Dionysos. He has also worked with conductors such as Antonio Pappano, Mark Elder, Peter Schneider, Nicola Luisotti, Philippe Jordan and Simone Young. He has been musical director of the Young Singers Project at the Salzburg Festival since 2015.
His engagements include appearances at the Teatro Colón in Buenos Aires and a tour of the USA conducting the Baroque pasticcio The Infernal Comedy with John Malkovich. During the summer of 2014 he conducted a new production of Le nozze di Figaro at Central City Opera in Colorado.
From 2010 to 2017 Adrian Kelly was first Kapellmeister at the Salzburg Landestheater, working regularly with the Mozarteum Orchestra. He has conducted numerous productions in Salzburg, including Krenek’s Jonny spielt auf, Verdi’s Rigoletto and Massenet’s Werther. In February 2016 he conducted the critically acclaimed Austrian premiere of Charles Wuorinen’s Brokeback Mountain. Recent highlights in Salzburg include Offenbach’s Les Contes d’Hoffmann, Mozart’s Le nozze di Figaro and Humperdinck’s Hänsel und Gretel in the Felsenreitschule and Puccini’s La bohème at the Haus für Mozart. During the 2018/19 season he conducted Massenet’s Manon and a cycle of Mozart’s three Da Ponte operas at the Salzburg Landestheater.
In June 2018 Adrian Kelly was appointed artistic director of the Buxton Festival. In July 2023 he conducted new productions there of Bellini’s La sonnambula as well as Mozart’s Il re pastore. He has been the head of the International Opera Studio at the Zurich Opera House since the start of the 2020/21 season. In 2022/23 he conducted a new production of Wolfgang Rihm’s Jakob Lenz as well as a revival of Donizetti’s Viva la mamma (Le convenienze ed inconvenienze teatrali) at the Zurich Opera House.
Tatiana Lisnic was born in Cobalea, Moldavia.
After finishing the Musical College “Stefan Neaga “ in Chisinau, she continued and graduated t her diploma at the Music-Academy “G. Dima” in Cluj-Napoca, Romania.
Tatiana Lisnic made in 1998 her stage-debut at the Opera House in Cluj as Nedda (“Pagliacci”), followed by Ilia (“Idomeneo) at the Hungarian Opera House in Cluj-Napoca.
First with the Herbert von Karajan – Scholarship, then as member of the ensemble and starting with 2003 as permanent guest, she sung at the Vienna State Opera numerous roles like Adina- “L’elisir d’amore”, Susanna (NP) “Le nozze di Figaro”, with R. Muti, Lauretta-“Gianni Schicchi” and Nanetta (NP)- “Falstaff”, with F. Luisi).
Under the baton of illistrious conductors, Tatiana Lisnic appears on the most important opera stages:La Scala di Milano and Ravenna Festival (2002 – “Le nozze di Figaro” – R. Muti), Teatro Comunale di Firenze (2001 – “Don Pasquale”), Teatro La Fenice Venezia (2006 – “Die Zauberflöte/Pamina), Opéra National La Monnaie Bruxelles (2002 – “La Bohème”/Mimi – A. Pappano and 2003 -“Don Giovanni”/Zerlina), Opéra National de Paris Bastille (2009 – “L’elisir d’amore”, 2010 “Le nozze di Figaro”, 2015 – “Don Giovanni”/Donna Anna), Opéra National du Rhin Strasbourg (2003 – “La Traviata”, 2007 – “Lucia di Lammermoor”), Opéra de Toulon (2012 – “Carmen”/Micaela), Royal Opera House Covent Garden (2004 – “Don Pasquale”), Deutsche Oper Berlin (2005 – “Don Pasquale), Staatsoper Berlin (2014 – “Faust”), Hamburgische Staatsoper (2010- “L’elisir d’amore”, 2011 and 2012 – “Flavius Bertaridus”. 2013 – “Faust”), Oper Frankfurt (2006 – “La Bohème”/Mimi 2009 – “Les pêcheurs de perles”, “Lucia di Lammermoor”, “La Traviata”, 2010 – “Le nozze di Figaro”./Susanna), Palau de les Arts Reina Sofia Valencia (2008 – “Le nozze di Figaro”/Susanna), NNTT Tokyo (2010- “L’elisir d’amore”), Teatro de la Maestranza Sevilla (2010 – “La Bohème”/Musetta), Angers- Nantes Opéra (2011 – “L’elisir d’amore”), Aalto Theater Essen (2011 – “I Capuleti e i Montecchi”), Teatro Bellini Catania (2012 – “Carmen”/Micaela), Seoul (2013- “Turandot”/Liù), Mikhailovsky Theatre St. Petersburg (2013 – “L’elisir d’amore”), Theater St. Gallen (2013 – “Don Giovanni”/Donna Anna), San Diego Opera (2014 – “L’elisir d’amore”/Adina), Seoul Arts Center 2016”Carmen”/ Michaela, Bucharest National Opera “L’elisir d’amore”/Adina/2015,2017,“Faust”/Margeurite“ 2013,2015,2017, Evgeni Onegin”/Tatiana-2015/2018/2023, Chisinau National Opera”Turandot “/ Liu-2023, Cluj-Napoca National Opera House “Le Nozze di Figaro “ 2024, Chisinau National Opera House “Carmen”/Michaela-2024.
Near her operatic appearances, she developed a rich concert activity in Austria, Germany, France, Spain, under the baton of J. Lopez-Cobos, R. Muti, M. Viotti etc.
Her recordings include a CD with “Gianni Schicchi”/Lauretta for Naxos with A. Rahbari , a DVD live recording with “Le nozze di Figaro”/Susanna for TDK with R. Muti and Teatro La Scala di Milano orchestra and choir ,CD recording “Harmonie” for voice and harp accompanied by Britt Arend, “ Golgotha “ by Frank Martin – live recording with M.Viotti and Munich Radio Orchestra.
Her repertoire includes: Anna Bolena , Maria Stuarda, Norma, Lucrezia Borgia, Rachel in La Juive .
From Ireland, Paul McNamara has sung in theatres throughout Europe where his many notable successes have included his debut in Venice at La Fenice as Wagner’s Tannhäuser conducted by Omer Meir Wellber, and critically acclaimed performances at the Deutsche Oper Berlin in Braunfels’ Szenen aus dem Leben der heiligen Johanna. Further afield, the tenor won widespread approbation for his North American debut with the American Symphony Orchestra under its chief conductor Leon Botstein, where his performance in Max von Schillings’ opera Mona Lisa was hailed by the audience and critics alike.
Operatic engagements elsewhere include the Teatr Wielki in Warsaw, Théâtre Royal de la Monnaie in Brussels, NI Opera, Cape Town Opera, the Opera Lesna in Sopot (Poland), Opera Ireland, the Janáček Festival in Brno, the National Opera in Almaty, Kazakhstan, the Theatro Municipal, Rio de Janeiro, the Landestheater Linz, and with the Salzburg Festival at the Beijing Music Festival. Concert appearances have taken him to many of the world’s leading venues including the Berlin Philharmonie, the Pierre Boulez Saal Berlin, the Amsterdam Concertgebouw and New York’s Carnegie Hall as well as to the Telemann Festival in Hamburg with Akademie für Alte Musik Berlin.
McNamara has appeared in roles such as Wagner’s Claudio (Das Liebesverbot), Erik, Tannhäuser, Loge, Tristan, Siegfried, Mime and Parsifal. In addition to operas by Berg, Braunfels, Schillings, Schreker, Strauss, and Zemlinsky, his extensive repertoire also includes work by Cavalli, Monteverdi, Mozart, Weber, Meyerbeer, Leoncavallo, Tchaikowsky, Janáček, Britten, Previn, Penderecki and John Adams.
An alumnus of the Royal Irish Academy of Music, Paul McNamara is an honours graduate of the University College Cork, the Cork School of Music and the Royal College of Music London. Artistic Leader of the Dutch National Opera Academy (DNOA) – the collaborative masters programme in opera performance of the Conservatorium van Amsterdam and the Royal Conservatoire The Hague, he a faculty member at the American Institute of Musical Studies in Graz, casting consultant for the Stichting Omroep Muziek and Opera Adviser to the Arts Council of Ireland (An Chomhairle Ealaíon).
He is much in demand as a career consultant, teacher and juror in international vocal competitions.
