Der Rosenkavalier - Orchestre Métropolitain

Dates and Locations Date Location Choose

Sunday
January 31st
2:00 PM

Maison Symphonique de Montréal

Can love withstand the inevitable passage of time? Absent from Montreal stages for more than thirty years, Richard Strauss’s operatic masterpiece Der Rosenkavalier returns in a concert version co-produced with the Opéra de Montréal and the Orchestre Métropolitain. Nostalgic for Viennese waltzes as well as for Mozartian comedy, Strauss unfolds music of elegance and emotional richness that continues to captivate audiences.

Yannick Nézet‑Séguin brings together an exceptional cast to create a true generational event. Diana Damrau embodies a Marschallin of remarkable depth. Emily D’Angelo lends Octavian the ardor of youth. Erin Morley gives Sophie a crystalline grace, while Peter Rose portrays a delightfully boisterous Baron Ochs. All have triumphed in these roles on the world’s greatest stages, from New York to Milan, and their names have become inseparable from these iconic characters. Several other great Canadian and international voices will join these soloists. Rarely has a cast seemed so ideal!

Works

Conductor & Soloists

Yannick Nézet-Séguin

Conductor

Artistic Director and Principal Conductor of the Orchestre Métropolitain since 2000, to which he committed himself “for life” in 2019, Yannick Nézet-Séguin became, in September 2018, the third Music Director of the Metropolitan Opera (Met) in New York. Music Director of the Philadelphia Orchestra since 2012, he became its Artistic and Music Director in 2023 and renewed his contract until 2030. He is Honorary Conductor of the Rotterdams Philharmonisch Orkest, where he was Music Director from 2008 to 2018, and is also an Honorary Member of the Chamber Orchestra of Europe.

Yannick works with several prestigious orchestras and maintains a more special relationship with the Berlin and Vienna Philharmonics Orchestras, the Bavarian Radio Orchestra, the Chamber Orchestra of Europe and the London Philharmonic Orchestra, where he was principal guest conductor from 2008 to 2014. He has participated several times in the BBC Proms as well as in many festivals in Europe including those of Edinburgh, Lucerne, Salzburg and Grafenegg (Vienna). He was chosen to conduct the prestigious Vienna New Year’s Concert 2026. In North America, he regularly participates in the Lanaudière, Vail and Saratoga festivals as well as the Domaine Forget (Charlevoix). With the Philadelphia Orchestra and with the musicians of the MET Orchestra, he performs regularly at Carnegie Hall where he was an “Artist in Perspective” in 2019-2020. He also gives master classes, notably in two of the most renowned institutions, the Curtis Institute in Philadelphia and the Julliard School in New York. In Quebec, he directs an academy for young conductors linked to the Orchestre Métropolitain, in close collaboration with the Académie internationale du Domaine Forget.

He continues a long-term collaboration with the Festival La Capitale d’été in Baden Baden, where he conducts several orchestras in turn, including the Chamber Orchestra of Europe, thus giving rise to numerous concerts and opera recordings, notably the complete Beethoven symphonies and the Brahms cycle. He regularly conducts several orchestras during American, Asian or European tours. In November 2017, he conducted the Orchestre Métropolitain de Montréal on its very first European tour, which was a huge success, and will repeat the experience in June 2025, taking them to Brussels (Bozar), Paris (Philharmonie), Vienna (Wiener Konzerthaus), Hamburg (Elbphilharmonie) and Baden Baden (Festspielhaus). In the meantime, he has completed two very successful North American tours with the OM, taking them to Carnegie Hall, among others. A remarkable opera conductor, he is acclaimed in the most renowned houses and venues. He has also contributed to the production of two films as a conducting consultant: Maestro (2022), an American film by Bradley Cooper recounting the life of Leonard Bernstein, and Les Jours heureux (2023), a Quebec film by Chloé Robichaud dealing with the difficulties of a young conductor. Yannick records exclusively for Deutsche Grammophon, while continuing his role in OM’s collaboration with ATMA Classique.

His honours include five Grammy Awards: Best Orchestral Performance for his performance of Florence Price’s Symphony No. 3 with the Philadelphia Orchestra (2023); Best Opera Recording for Terence Blanchard’s Fire Shut Up in My Bones (2023) and Champion (2024), both at the MET; Best Classical Solo Vocal Album with renowned soprano Renée Flemming for Voice of Nature – Anthropocene (2023); and most recently, Best Score Soundtrack for Visual Media for Maestro, with the London Symphony Orchestra (2025). Yannick Nézet-Séguin also holds eight honorary doctorates (Université du Québec à Montréal, 2011; Curtis Institute of Philadelphia, 2014; Rider University of Princeton, 2015; McGill University (Montreal), 2017; Université de Montréal, 2017; University of Pennsylvania, 2018; Université Laval, 2021; Drexel University in Philadelphia, 2023); he is also a Companion of the Order of Canada (2012), Companion of Arts and Letters of Quebec (2015), Officer of the National Order of Quebec (2015), Officer of the Order of Montreal (2017), Honorary Member of the Royal Conservatory of Music (2020) and Officer of the Order of Arts and Letters of the French Republic (2021).

Diana Damrau

Soprano

Soprano Diana Damrau has been performing on the world’s leading opera and concert stages for more than two decades.

Her vast repertoire spans major roles across lyric, bel canto, Mozart, and Richard Strauss, including title roles in Anna Bolena (Zurich Opera House, Vienna State Opera), I Masnadieri and Capriccio (Bavarian State Opera), Roméo et Juliette (La Scala, Metropolitan Opera), Lucia di Lammermoor (La Scala, Bavarian State Opera, Metropolitan Opera, Royal Opera House), Manon (Vienna State Opera, Metropolitan Opera), and La Traviata (La Scala, Metropolitan Opera, Royal Opera House, Opéra national de Paris, Bavarian State Opera). She is also celebrated worldwide for her iconic interpretation of the Queen of the Night in Mozart’s Die Zauberflöte (Metropolitan Opera, Salzburg Festival, Vienna State Opera, Royal Opera House, Bavarian State Opera).

In January 2025, Diana Damrau made her acclaimed debut as the Marschallin in Richard Strauss’s Der Rosenkavalier at the Berlin State Opera, a role she reprised in a new production at Zurich Opera House in autumn 2025. At the turn of 2025/26, she appeared as Rosalinde in Die Fledermaus at both the Vienna State Opera and the Bavarian State Opera in Munich. Further operatic highlights include the title role in Strauss’s Arabella at Zurich Opera House in April 2026, and Contessa di Almaviva in Le nozze di Figaro at the Bavarian State Opera in May 2026.

The Metropolitan Opera has been a cornerstone of her career since her debut there as Zerbinetta in Ariadne auf Naxos in 2005. At the Met, she has sung many of her signature roles—often broadcast worldwide in HD—and has made seven role debuts. Highlights include new productions of Rigoletto (Gilda), Il barbiere di Siviglia (Rosina), Le comte Ory (Adèle), and Les pêcheurs de perles (Leïla), as well as title roles in La Traviata, Manon, La sonnambula, La fille du régiment, and Roméo et Juliette. She is also the first singer in Metropolitan Opera history to have performed both Pamina and the Queen of the Night in different performances of the same run of Die Zauberflöte.

Diana Damrau has also been a committed advocate of contemporary opera, creating roles written especially for her—most notably the title role in Iain Bell’s operatic adaptation of Hogarth’s A Harlot’s Progress (Theater an der Wien, 2013), as well as leading roles in Lorin Maazel’s 1984 (Royal Opera House, 2005).

Internationally recognized as one of today’s most sought‑after recital and song interpreters, she regularly performs at the world’s leading concert venues. She enjoys close artistic partnerships with pianist Helmut Deutsch, harpist Xavier de Maistre, and Sir Antonio Pappano. In spring and summer 2025, she presented her third highly successful recital tour with tenor Jonas Kaufmann and pianist Helmut Deutsch, appearing in Europe’s most prestigious concert halls and at festivals including Aix‑en‑Provence and Salzburg.

Recording exclusively for Erato / Warner Classics, Diana Damrau made her recording debut with Arie di Bravura, a collection of Mozart and Salieri arias. Subsequent solo releases have received numerous accolades, including ECHO and OPUS Klassik awards. She performed Strauss’s Vier letzte Lieder at Carnegie Hall with the Bavarian Radio Symphony Orchestra under Mariss Jansons; the recording was released in 2020. She has also appeared on a wide range of complete opera recordings on both CD and DVD. Her current album, Operette – Wien, Berlin, Paris, is devoted to operetta, featuring passionate arias and duets with Jonas Kaufmann.

Much in demand on the concert stage, Diana Damrau has performed with the Berlin Philharmonic under Kirill Petrenko, the Los Angeles Philharmonic with Gustavo Dudamel, and the Staatskapelle Berlin under Christian Thielemann, among many others.

Diana Damrau is Kammersängerin of the Bavarian State Opera (2007) and a recipient of the Bavarian Maximilian Order for Science and Art (2010). She was awarded the Order of Merit of the Federal Republic of Germany in 2021. She has been named Singer of the Year by Opernwelt, the International Opera Awards (London), Opera News, and Gramophone Editor’s Choice. Since 2020, an asteroid bears her name.

Erin Morley

Soprano

One of today’s most sought-after lyric coloratura sopranos, Erin Morley has been praised for the “silken clarity of her voice and the needlepoint precision of her coloratura” (New York Times).

A recipient of the Beverly Sills Award and a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, her performances have garnered huge critical acclaim worldwide. She regularly appears on the world’s greatest opera stages, including Wiener Staatsoper, Teatro alla Scala, Bayerische Staatsoper, Opéra National de Paris, Gran Teatre del Liceu, Glyndebourne Opera, Santa Fe Opera, Los Angeles Opera, and the Metropolitan Opera, where she has now sung more than 100 performances and has been featured in five “Live in HD” broadcasts.

In the 2025–26 season, Erin Morley makes her anticipated role debut as Marie in Laurent Pelly’s La fille du régiment and as Pamina in Die Zauberflöte, both at the Metropolitan Opera. She also returns to the Wiener Staatsoper as Zerbinetta in Ariadne auf Naxos and to Opernhaus Zürich as Zdenka in Arabella. On the concert platform, to mark the long-awaited release of Morley and Lawrence Brownlee’s new duo album Golden Era, they will embark on a recital tour in celebration. They will present the in-demand recital at venues including DC Vocal Arts, the RundfunkSinfonieorchester Berlin at the Konzerthaus, New York’s 92nd Street Y, Opera Carolina, and the Newport Classical Music Festival, among others. Also on the concert platform, she appears in a gala concert at Carnegie’s Weill Hall with the Metropolitan Opera Chamber Orchestra; gives a solo recital at Dallas Opera; performs Mahler’s Symphony No. 4 in Boston; and joins the Chicago Symphony Orchestra as soprano soloist in Poulenc’s Gloria.

Last season saw Morley return to the Metropolitan Opera with a double appearance: as Olympia in The Tales of Hoffmann and as Gilda in Rigoletto. Further highlights include her return to the Arena di Verona as the Soprano Soloist in Carmina Burana and as Cunegonde in concert performances of Candide at the Semperoper Dresden. Elsewhere on the concert platform, Morley joined Maestro Christian Thielemann and the Staatskapelle Berlin for a tour to Berlin and Vienna as soloist in a program of Strauss orchestral songs, as well as appearances with the Boston Symphony Orchestra, Boston Baroque, and Dallas Symphony Orchestra. In recital, she presented Wolf’s Italienisches Liederbuch with Huw Montague Rendall and Malcolm Martineau at London’s Wigmore Hall and Amsterdam’s Concertgebouw; and performed her acclaimed “Rose in Bloom” program at Park Avenue Armory, Yale School of Music, Friends of Chamber Music, and the BRAVO! Series at Brigham Young University.

Recent operatic highlights include company debuts at The Royal Ballet and Opera as Gilda (Rigoletto) and at Teatro La Fenice in Venice as Zerbinetta in a new production of Ariadne auf Naxos; Pamina in a new production of Die Zauberflöte; the title role in Matthew Aucoin’s Eurydice; Sophie in Der Rosenkavalier; and Olympia in Les Contes d’Hoffmann, all at the Metropolitan Opera. She also made her Teatro alla Scala debut as Zerbinetta in Ariadne auf Naxos; performed Gilda in a new production of Rigoletto; Tytania in a new production of Britten’s A Midsummer Night’s Dream; Zerbinetta and Sophie at the Wiener Staatsoper; Norina in Don Pasquale and Zerbinetta at the Glyndebourne Festival; a critically acclaimed debut as Lakmé with Washington Concert Opera; Gilda at Staatsoper Berlin; Konstanze in Die Entführung aus dem Serail and Sophie at Opéra de Paris; Fiakermilli in Arabella and Gilda at Bayerische Staatsoper; Lucia di Lammermoor in Nancy; and Tytania, Roxana in Król Roger, Mme Silberklang in Der Schauspieldirektor, and the title role in Stravinsky’s The Nightingale, all at Santa Fe Opera. Cunegonde in Candide is another signature role, performed with LA Opera under James Conlon alongside Kelsey Grammer and Christine Ebersole; with Yannick Nézet‑Séguin and the Philadelphia Orchestra with Alek Shrader, Bradley Cooper, and Carey Mulligan; and at the Carnegie Hall Centenary with John Lithgow.

Equally at home on the concert platform, recent successes include her debut at the Arena di Verona in Beethoven’s Ninth Symphony and Morgana in Alcina with Les Musiciens du Louvre under Marc Minkowski at Teatro alla Scala, marking the release of a new recording on Pentatone; soprano soloist in Orff’s Carmina Burana with the Orchestre de Paris under Andrés Orozco‑Estrada; a gala concert with Washington Concert Opera; Poulenc’s Gloria with the Houston Symphony Orchestra conducted by Juraj Valčuha; Brahms’s Requiem with the Orchestra of St. Luke’s at Carnegie Hall conducted by Xian Zhang; Beethoven’s Missa Solemnis with the Chicago Symphony Orchestra under Riccardo Muti; Carmina Burana with the Boston Symphony Orchestra at the Tanglewood Festival conducted by Andris Nelsons; Mozart’s Mass in C Minor for the Mostly Mozart Festival at Lincoln Center with Louis Langrée; a tour with Harry Bicket and The English Concert; performances with the Chamber Music Society of Lincoln Center and the Met Chamber Ensemble in Carnegie’s Zankel Hall; and Poulenc’s Gloria with the Netherlands Philharmonic Orchestra conducted by Lorenzo Viotti at the Concertgebouw Amsterdam and Vienna’s Musikverein. Recitals in Berkeley and at the Kennedy Center in Washington, DC, marked the release of her solo recital album Rose in Bloom. Morley also appeared in the famed televised New Year’s Eve concerts with the Staatskapelle Dresden and Christian Thielemann, performing Princess Mi in Lehár’s Das Land des Lächelns. She regularly performs with leading orchestras including the Cleveland Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Symphony Orchestra, New York Philharmonic, LA Philharmonic, Deutsches Symphonie‑Orchester Berlin, Staatskapelle Dresden, and Rotterdam Philharmonic Orchestra. A dedicated recitalist, Morley’s appearances include collaborations with pianists Vlad Iftinca, Ken Noda, Gerald Martin Moore, and Malcolm Martineau.

Morley’s debut recital disc with Gerald Martin Moore, Rose in Bloom, released in 2024, has received critical acclaim worldwide, praised as the “crystalline debut of a new high coloratura star.” Her many recordings include Morgana in a complete recording of Handel’s Alcina for the Pentatone label; Eurydice in the Met’s GRAMMY‑nominated recording of Matthew Aucoin’s Eurydice; Princesse Isabelle in Meyerbeer’s Robert le Diable with Opéra National de Bordeaux for Palazzetto Bru Zane; Sister Constance in the Met’s GRAMMY‑nominated Les Dialogues des Carmélites; Sophie in the Met’s GRAMMY‑nominated Der Rosenkavalier on DVD/Blu‑ray for Decca; Mater Gloriosa in the LA Phil’s GRAMMY‑winning Mahler Symphony No. 8 with Gustavo Dudamel for Deutsche Grammophon; Princess Mi in the Staatskapelle Dresden’s Das Land des Lächelns with Christian Thielemann for Unitel; Sandrina in La finta giardiniera with Emmanuelle Haïm in Opéra de Lille’s production for Erato; Woglinde in Götterdämmerung in the Metropolitan Opera’s GRAMMY‑winning Lepage Ring Cycle for Deutsche Grammophon; Marguerite de Valois in Les Huguenots from Bard SummerScape with the American Symphony Orchestra; Carl Nielsen’s Symphony No. 3 “Espansiva” with Alan Gilbert and the New York Philharmonic for Da Capo Records; and Sylvie in Gounod’s opéra‑comique La Colombe with Sir Mark Elder and The Hallé Orchestra for the Opera Rara label.

Morley spent her early years studying violin and piano, frequently collaborating with her mother, violinist Elizabeth Palmer. An undergraduate of the Eastman School of Music, she went on to earn her Master of Music degree in voice from The Juilliard School and her Artist Diploma from the Juilliard Opera Center, where she received the Florence & Paul DeRosa Prize. Morley also trained at the Opera Theatre of Saint Louis as a Gerdine Young Artist, the Ravinia Festival Steans Institute, and the Wolf Trap Opera Company as a Filene Young Artist. She won First Prize in the Jessie Kneisel Lieder Competition in 2002 and First Place in the Licia Albanese–Puccini Foundation Competition in 2006. She also received the Richard Tucker Career Grant in 2013, the Beverly Sills Award in 2021, the Opera News Award in 2023, the Eastman School of Music Centennial Award in 2023, and was named Chevalier dans l’Ordre des Arts et des Lettres by the French government in 2024.

Emily D’Angelo

Mezzo-soprano

Hailed by the New York Times as “one of the world’s special young singers,”

Emily D’Angelo’s meteoric rise has firmly established her status as one of the most exciting and critically acclaimed artists of her generation. Beginning with her professional operatic debut at age 21 as Cherubino in Le nozze di Figaro at the Spoleto Festival dei Due Mondi, the “wondrous and powerful” (NYT) mezzo-soprano is constantly in demand at the world’s top opera companies. Following the release of her second album freezing for Deutsche Grammophon, she was named the 2025 recipient of Opus Klassik’s “Female Singer of the Year” award, one of classical music’s most coveted honors.

In the 2025/26 season, Emily D’Angelo returns to London’s Royal Opera House in the title role of Handel’s Ariodante in a new production by Jetske Mijnssen and conducted by Stefano Montanari. Appearing again at the Vienna State Opera, she returns to the role of Sesto in La clemenza di Tito led by Pablo Heras-Casado and newly staged by director Jan Lauwers.

On the cusp of a robust concert season, D’Angelo makes highly anticipated debuts with the London Symphony Orchestra in Elgar’s The Dream of Gerontius under the baton of Sir Antonio Pappano, and with the Philadelphia Orchestra as soloist in Leonard Bernstein’s Symphony No. 1 “Jeremiah”, led by Yannick Nézet-Séguin. She returns to Spain for two of Mahler’s magnificent symphonies: with the Royal Seville Symphony Orchestra she is the mezzo-soprano soloist in Symphony No. 2 “Resurrection” and with Orquesta Ciudad de Granada she is heard as soloist in Symphony No. 3. Additionally in Spain she is heard in Oviedo in Rossini’s cantata Giovanna d’Arco and in de Falla’s El amor brujo. The mezzo sings the opening performance of Salzburg’s Mozartwoche 2026 with The Danish Chamber Orchestra and Adam Fischer, presenting Handel, Monteverdi and Mozart arias. She reprises this program with Mo Fischer in Copenhagen. Under the auspices of the Whitsun Festival at Festspielhaus Baden-Baden, she reprises one of her signature roles, Octavian in Der Rosenkavalier, in a concert version of the opera with the SWR Symphonie-Orchester. Additionally, she continues her collaboration with pianist Sophia Munoz in recitals at Hanzas Perons Cultural Center in Riga and at the Ammolite Opera in Calgary.

In recent seasons, Emily D’Angelo has made a host of widely acclaimed debuts, cementing her status as one of the opera world’s most in-demand artists. D’Angelo opened the 2024/25 season at the Metropolitan Opera starring as Jess, the leading role in two-time Tony Award–winning composer Jeanine Tesori’s opera Grounded. The mezzo first created the role of Jess in the world premiere with Washington National Opera in 2023. Following her company debut with the Berlin State Opera as Cherubino in Le nozze di Figaro, she subsequently made an auspicious role debut as Octavian in Der Rosenkavalier and returned to Idamante in Mozart’s Idomeneo. Her artistic bond with the Vienna State Opera includes her house debut as Dorabella in Così fan tutte, followed by performances as Octavian in Der Rosenkavalier, and as Donna Elvira in Don Giovanni. With the Bayerische Staatsoper, she has been heard as Cherubino in Le nozze di Figaro, Idamante in Idomeneo, and as Juno in Claus Guth’s new staging of Semele. With London’s Royal Opera D’Angelo made her house and role debut as Sesto in La clemenza di Tito and was swiftly re-invited for another role debut, Ruggiero in a new Richard Jones production of Handel’s Alcina. For the Paris Opera’s Palais Garnier, she gave her first performances in the title role of Ariodante in Robert Carsen’s staging, as Sesto in Laurent Pelly’s Giulio Cesare, and as Siebel in Gounod’s Faust, in tandem with appearances as Rosina in Il barbiere di Siviglia for her company debut. A frequent guest at the Metropolitan Opera, the mezzo-soprano has been heard as Cherubino and in a role debut as Prince Charming in an English-language presentation of Massenet’s Cendrillon, broadcast to audiences worldwide in Live in HD. She sang Ottavia in L’incoronazione di Poppea for her debut at the Zürich Opera and made both her role and company debut as Angelina in La cenerentola with Semperoper Dresden. With Teatro alla Scala, her first performances for the company were as Dorabella in Così fan tutte followed by her role debut as Donna Elvira in Robert Carsen’s production of Don Giovanni.

During her tenure as a member of the Metropolitan Opera’s Lindemann Young Artist Program, Emily D’Angelo performed the role of Annio in La clemenza di Tito, Second Lady in The Magic Flute (company debut), and Soeur Mathilde in Dialogues des Carmélites, conducted by music director Yannick Nézet-Séguin and broadcast in movie theaters across the world as part of the Met’s Live in HD series. She was Dorabella in Così fan tutte for the Santa Fe Opera and the Canadian Opera Company, where she has also appeared as Rosina in Il barbiere di Siviglia – a role she debuted at the Glimmerglass Festival in a new production by Francesca Zambello in 2018.

Emily D’Angelo is a keen recitalist and regularly performs in storied concert halls, collaborating with the world’s most acclaimed orchestras, ensembles, and conductors. She recently made her debut at the BBC Proms in London’s Royal Albert Hall, singing Mahler’s Symphony No. 2 “Resurrection” with the Hallé Orchestra, and joined Yannick Nézet-Seguin and the Chamber Orchestra of Europe for two concerts of Mozart’s Reqiuem and Great Mass in C minor K. 427 at Festspielhaus Baden-Baden. Additionally, the mezzo-soprano starred in concert with tenor Freddie De Tommaso and the Orquesta Sinfónica de Puerto Rico and appeared as the soloist in an all-Haydn program with Tonkünstler Orchester at the Auditorium Grafenegg in Austria. She was featured at the annual Advent concert of the ZDF, German national television, with Staatskapelle Dresden under Riccardo Minasi, and in her native Canada she performed Handel’s Messiah with Orchestre Métropolitain at Basilique Notre-Dame de Montréal under the baton of Yannick Nézet-Séguin. Emily D’Angelo was the Spotlight Artist at the Toronto Symphony Orchestra in the 2023-24 season presenting Alban Berg’s Sieben frühe Lieder and the orchestral suite of her Deutsche Grammophon debut album enargeia. On the anniversary of Wolfgang Amadeus Mozart’s death, she sang his Requiem with the Camerata Salzburg, followed by performances of the work at the Salzburg Summer Festival under the baton of Manfred Honeck. She debuted Alma Mahler’s Sieben Lieder under the musical direction of Anja Bihlmaier in Madrid and twice was heard in Beethoven’s Symphony No. 9: with the Handel and Haydn Society led by Raphaël Pichon and the RSB orchestra under conductor Vladimir Jurowski. With the English Concert and Harry Bicket, D’Angelo made her debut at Carnegie Hall’s Stern Auditorium in the title role of Handel’s Serse, with further concert performances in the UK and Spain in 2023. In 2024 she gave her solo recital debut at Carnegie Hall and recently returned to New York’s Park Avenue Armory, performing songs of her debut album enargeia. She has presented recitals together with pianist Sophia Munoz at The Edinburgh International and at Konserthuset Stockholm. She has further appeared in solo recitals under the auspices of the Park Avenue Armory, the New York Morgan Library Recital Series, Toronto’s Koerner Hall, Los Angeles’ Song Fest Recital Series, the Santa Fe Festival of Song, Teatro del Lago in Chile, and The Society of the Four Arts in Palm Beach. In 2021, she recorded a recital program at the Kennedy Center for Vocal Arts DC, which continues to stream online via Deutsche Grammophon’s DG Stage+ platform.

Additional performances have included diverse repertoire such as Respighi’s Il tramonto with Quartet 212 at the Princeton University Concert Series, Stravinsky’s Pulcinella with the Montclair Orchestra, the world premiere of Ana Sokolović’s song cycle dawn always begins in the bones, Unsuk Chin’s snagS&Snarls, and the Canadian premiere of Matthew Aucoin’s The Orphic Moment at the Toronto Contemporary Music Festival.

Emily D’Angelo is a Deutsche Grammophon exclusive recording artist. Her debut album enargeia presents music from the 12th and 21st centuries by composers Hildegard von Bingen, Hildur Guðnadóttir, Missy Mazzoli and Sarah Kirkland Snider, and is described by the artist herself as a “a soundworld, bound together by the multisensory ancient concept of enargeia.” It was named one of the 50 best albums of 2021 by NPR, the best Canadian classical album of 2021 by the CBC, was featured on NPR’s 100 best songs of 2021, and received JUNO and Gramophone awards in 2022. In 2024 D’Angelo released her much-anticipated second album freezing produced by Deutsche Grammophon. freezing features music by Dowland, Purcell, Kodály, Philip Glass, Randy Newman and Jeanine Tesori, among many others. The album comprises 17 songs drawn from the folk tradition, art song and beyond. The mezzo-soprano is joined on freezing by Sophia Muñoz (piano), Bruno Helstroffer (electric guitar) and Jonas Niederstadt (bass guitar, synth, percussion).

D’Angelo can be heard performing Ralph Vaughan Williams’ Serenade to Music in a Grammy-nominated and JUNO Award-winning live recording with the Toronto Symphony Orchestra; in excerpts from West Side Story on Decca’s “The Magic of Mantovani”; and in Ravel’s Cinq mélodies populaires grecques with the Chamber Music Society of Lincoln Center on their album “Odyssey,” filmed and recorded at the Stavros Niarchos Cultural Center in Athens for the first ever international production of PBS “Live From Lincoln Center.”

D’Angelo has triumphed in numerous international competitions, winning first prize in the Metropolitan Opera Competition, the Canadian Opera Company Competition, the George London Foundation Competition, the Gerda Lissner Competition, Innsbruck’s Cesti Competition, and the Operalia Competition, where a historic win included First Prize, the Zarzuela Prize, the Birgit Nilsson Prize and Audience Prize. She has also received prizes from the Neue Stimmen International Singing Competition, the Concours musical international de Montréal (CMIM). The mezzo-soprano is the first and only vocalist to be honored with the Leonard Bernstein Award from the Schleswig-Holstein Festival. D’Angelo was a 2020 Lincoln Center Emerging Artist, one of Canada’s “Top 30 Under 30” Classical Musicians, and WQXR NYC Public Radio’s “40 Under 40” singers to watch. Her professional operatic debut as Cherubino in Le nozze di Figaro at the Spoleto Festival dei Due Mondi, broadcast nationwide on RAI, earned her the 2016 Monini Prize.

Toronto-born D’Angelo is a graduate of the University of Toronto, the Metropolitan Opera Lindemann Young Artist Development Program, the Canadian Opera Company Ensemble Studio, and the Ravinia Festival’s Steans Music Institute.

Peter Rose

Bass

Peter Rose is widely acknowledged as one of the world’s leading exponents of Richard Strauss’ Baron Ochs, a role he’s sung to comedic perfection in productions of Der Rosenkavalier with all the world’s leading theatres including Wiener Staatsoper, the Metropolitan Opera, Teatro alla Scala and with the Royal Ballet & Opera. And since his debut with the company as Lord Rochefort in Anna Bolena, opposite Dame Joan Sutherland in her final role in the theatre, he’s continued to work with the world’s greatest singers and conductors, including such legendary names as Sir Georg Solti, Carlos Kleiber and Carlo Maria Giulini, setting the scene for one of the most enduring and high-profile careers of any British artist in recent decades.

Equally commanding in an impressive range of operatic repertoire, appearances have included as Osmin (Die Entführung aus dem Serail), Fafner (Siegfried), Boris Godunov, Falstaff, Il Commendatore and Leporello (Don Giovanni), Banquo (Macbeth), Gorjančikov (From the House of the Dead), König Marke (Tristan und Isolde), Four Villains (Les contes d’Hoffmann), and Rocco (Fidelio). He’s also strongly associated with the role of Bottom in A Midsummer Night’s Dream for which he has won particular acclaim and marked his debut at the Metropolitan Opera.

Recent opera highlights include Osmin at Teatro alla Scala, Milan conducted by Thomas Guggeis, Fafner (Siegfried) under Christian Thielemann at Staatsoper Unter den Linden and Ochs at Semperoper Dresden conducted by Cornelius Meister and last season saw his role debut as Sir Morosus in Jan Philipp Gloger’s new production of Die schweigsame Frau at Staatsoper Unter den Linden conducted by Thielemann.

The 2025/26 season includes three appearances on the stage of Staatsoper Unter den Linden, as Fafner (Der Ring des Nibelungen), as Sir Morosus and as Baron Ochs – all under the baton of Christian Thielemann; and there will be further performances of Der Rosenkavalier on tour to Japan with Wiener Staatsoper under Philippe Jordan and he returns to Bayreuther Festspiele for their newly curated and digitally realised Der Ring des Nibelungen celebrating 150 years of the cycle’s history in the theatre and led by Christian Thielemann.

A prolific concert artist, Peter Rose has also worked with the world’s leading orchestras including the Cleveland Orchestra, London Philharmonic Orchestra, New York Philharmonic, London Symphony Orchestra, Rotterdam Philharmonic Orchestra, Berliner Philharmoniker and Wiener Philharmoniker, collaborating with many of today’s leading conductors including Sir Simon Rattle, Adam Fischer, Kirill Petrenko, Yannick Nézet‑Séguin and Simone Young.

In recognition of his many celebrated performances at the Wiener Staatsoper, Peter Rose was awarded the lauded title of Kammersänger in 2020.

When he’s not on stage, Peter Rose is known for his warm and approachable personality. A passionate advocate for young musicians, he frequently participates in masterclasses and mentorship programs, sharing his knowledge and inspiring the next generation of operatic talent.

Thomas Ebenstein

Tenor

“Thomas Ebenstein’s Mime stands out in this […] production, because the tenor brings vigour to the stage – with charm and enthusiasm, he plays the dwarf who, blinded by a thirst for power and envy, wants to lure his foster son into disaster.”

— Elisa Engler
Das Opernglas (July–August 2024)

“It was Thomas Ebenstein who garnered the most applause at the premiere for his impassioned acting and stand-out vocal performance as the Mime.”
— Michel Schaer
Die Stimme der Kritik (15 April 2024)

“Thomas Ebenstein performs the Mime with a powerful […] tenor with an impeccable heroic attack.”
— Jan Kobrot
Online Merker (29 April 2024)

Thomas Ebenstein was born in Carinthia/Austria and received his vocal training at the Vienna University of Music and Performing Arts with Helena Łazarska and in the Lied class of KS Robert Holl. In 2001 he was a prize-winner at the International Dvořák Competition in Karlovy Vary (Czech Republic); in 2003 he won the Musica Juventutis Competition of the Vienna Konzerthaus, in 2005 the International Heinrich Strecker Competition in Baden near Vienna and in 2007 he was a scholarship holder of the Richard Wagner Scholarship Foundation for the Bayreuth Festival.

From 2003 to 2012, Thomas Ebenstein was a member of the ensemble of the Komische Oper Berlin, where he appeared in a variety of roles, including Don Ottavio in Mozart’s Don Giovanni, Pedrillo in Die Entführung aus dem Serail, Jaquino in Beethoven’s Fidelio, Andrès/Cochenille/Frantz/Pitichinaccio in Offenbach’s Les Contes d’Hoffmann, David in Wagner’s Die Meistersinger von Nürnberg, Narraboth in Strauss’ Salome, Valzacchi in Der Rosenkavalier and Truffaldino in Prokofiev’s The Love for Three Oranges, and many more.

Thomas Ebenstein has been a member of the Vienna State Opera ensemble since the 2012/13 season and has since appeared in a wide range of repertoire, including most recently as the Dance Master in Ariadne auf Naxos, The Gingerbread Witch in Hänsel und Gretel and Andrès/Cochenille/Frantz/Pitichinaccio in Les Contes d’Hoffmann.

Last season, he made a highly acclaimed house and role debut at the Opéra de Lyon as Hauptmann in Berg’s Wozzeck. At the Metropolitan Opera in New York, he recently appeared as Monostatos in Simon McBurney’s production of Mozart’s Die Zauberflöte. In a new production of Wagner’s Siegfried, directed by Nicholas Carter and staged by Ewelina Marciniak, Thomas Ebenstein also made his successful house debut as Mime at the Bühnen Bern, a role he also performed at the Dresden Music Festival under the direction of Kent Nagano.

In the 2025/26 season, Thomas Ebenstein will appear as the Captain in Wozzeck in several concert performances with the Brazilian São Paulo Symphony Orchestra conducted by Thierry Fischer before embodying the role in a new production staged by Evgeny Titov at Oper Graz. Under James Gaffigan, he will return to the Komische Oper Berlin with the role of The Gingerbread Witch in Hänsel und Gretel. With the WDR Symphony Orchestra under the direction of its chief conductor Cristian Măcelaru, he will appear in concert performances of Richard Strauss’ Salome in Cologne and at the Enescu Festival in Bucharest, while at the Spring Festival in Tokyo he will take to the stage of the Tokyo Bunka Kaikan as Klaus‑Narr in Schönberg’s Gurre‑Lieder and as Steuermann in Wagner’s Der fliegende Holländer.

Reprising the role of Mime from last season, he performs this season at Lucerne’s KKL. He will continue to perform at the Vienna State Opera during a guest appearance in Japan as Valzacchi in Richard Strauss’ Der Rosenkavalier, while at the opera house itself he will sing the First Jew in Salome and Dr Cajus in Falstaff.

To date, guest engagements have taken the tenor to Milan’s La Scala, the Bavarian State Opera, Berlin State Opera, Semperoper Dresden, Hamburg State Opera, Festspielhaus Baden‑Baden, Théâtre des Champs‑Élysées, Grand Théâtre de Genève, Theater an der Wien; Carnegie Hall, the Philharmonie Berlin, Kölner Philharmonie, Konzerthaus Dortmund, Laeiszhalle Hamburg, Concertgebouw Amsterdam, Auditorium di Milano, and Wiener Musikverein & Konzerthaus. On the festival scene, he has performed at the Ruhrtriennale Bochum, Schleswig‑Holstein Musik Festival, Dresden Music Festival, Wiener Festwochen, Salzburg Easter and Summer Festival, the Verbier Festival, Lucerne Festival, Bergen International Festival and Hong Kong Arts Festival.

During this time, Thomas Ebenstein has worked with conductors such as Thomas Adès, Alain Altinoglu, Bertrand de Billy, Semyon Bychkov, Riccardo Chailly, Christoph Eschenbach, Adam Fischer, Edward Gardner, Daniele Gatti, Valery Gergiev, Pablo Heras‑Casado, Jakub Hrůša, Marek Janowski, Philippe Jordan, Zubin Mehta, Ingo Metzmacher, Kent Nagano, Andris Nelsons, Yannick Nézet‑Séguin, Kirill Petrenko, Sir Simon Rattle, Christian Thielemann and Franz Welser‑Möst, as well as with directors such as Calixto Bieito, Robert Carsen, Stefan Herheim, Andreas Homoki, Barrie Kosky, La Fura dels Baus, Damiano Michieletto, Simon Stone, Dmitri Tcherniakov and Mariusz Treliński.

Key roles in his repertoire include the Dance Master in Ariadne auf Naxos, the Steuermann in Der fliegende Holländer, David in Die Meistersinger von Nürnberg, Mime in Das Rheingold and Siegfried, the Schreiber in Mussorgsky’s Khovanshchina, Prince Vasily Ivanovich Shuiski in Boris Godunov, a Scoundrel in Shostakovich’s Lady Macbeth of Mtsensk, Truffaldino in Prokofiev’s The Love for Three Oranges, the Captain in Berg’s Wozzeck, Bob Boles in Peter Grimes, Caliban in Thomas Adès’ The Tempest and Alfred in Die Fledermaus.

In addition to opera, the Austrian tenor has performed in concerts at the Vienna Musikverein, the Konzerthaus Vienna, the Konzerthaus Klagenfurt, the Festspielhaus St. Pölten, the Carinthian Summer, the Berlin Philharmonie, the Cologne Philharmonie, the Dortmund Konzerthaus, the Laeiszhalle Hamburg, the Schleswig‑Holstein Music Festival, the Dresden Music Festival, the Dresden Philharmonie, the Verbier Festival, the Lucerne Festival, the KKL Lucerne, Carnegie Hall New York, the NTR ZaterdagMatinee in the Concertgebouw Amsterdam, the De Doelen Rotterdam, the Auditorium di Milano, the Filharmonia Karola Szymanowskiego in Kraków and the Filharmonia Pomorska in Bydgoszcz.

Thomas Ebenstein is equally devoted to the Lied genre (collaborating with pianists Charles Spencer, David Lutz and Sarah Tsyman) and sacred vocal music. His debut album was released by Capriccio (Première Portraits) with songs by Richard Strauss, Schönberg, Zemlinsky and Korngold.

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