DR. STEPHANIE WEISS
(Deutsche Oper Berlin, Staatsoper Unter den Linden, Oper Frankfurt, San Diego Opera, Oper Dortmund, Oper Köln, Berlin Philharmonic, AIMS, Oper Leipzig)
PAUL MCNAMARA
(Dutch National Opera Academy, Teatro La Fenice, Teatr Wielki, the Teatro Municipal in Rio de Janeiro, Théâtre de la Monnaie, Carnegie Hall, Berlin Philharmonie, Concertgebouw)
JEANNE-MICHÈLE CHARBONNET
(Deutsche Oper Berlin, Geneva Opera, Teatro San Carlo, Edinburgh Festival , Opéra National de Paris, Liceu Barcelona, Teatro Municipal Santiago, Opéra de Nantes, Deutsche Oper Berlin, BBC Symphony Orchestra, Teatro Real-Madrid.)
JORDAN SHANAHAN
(Bayreuth Festspiele, Deutsche Oper Berlin, Graz Oper, Bregenz Festival, Zurich Opera, Royal Opera House, Teatro Real, Oper Köln, Metropolitan Opera, Lyric Opera Chicago, Bayerische Staatsoper)
(Deutsche Oper Berlin, Staatsoper Unter den Linden, Oper Frankfurt, San Diego Opera, Oper Dortmund, Oper Köln, Berlin Philharmonic, AIMS, Oper Leipzig)
PAUL MCNAMARA
(Dutch National Opera Academy, Teatro La Fenice, Teatr Wielki, the Teatro Municipal in Rio de Janeiro, Théâtre de la Monnaie, Carnegie Hall, Berlin Philharmonie, Concertgebouw)
JEANNE-MICHÈLE CHARBONNET
(Deutsche Oper Berlin, Geneva Opera, Teatro San Carlo, Edinburgh Festival , Opéra National de Paris, Liceu Barcelona, Teatro Municipal Santiago, Opéra de Nantes, Deutsche Oper Berlin, BBC Symphony Orchestra, Teatro Real-Madrid.)
JORDAN SHANAHAN
(Bayreuth Festspiele, Deutsche Oper Berlin, Graz Oper, Bregenz Festival, Zurich Opera, Royal Opera House, Teatro Real, Oper Köln, Metropolitan Opera, Lyric Opera Chicago, Bayerische Staatsoper)
JULIE WYMA, EXECUTIVE DIRECTOR
ANASTASIA INNISS, ARTISTIC DIRECTOR
ANASTASIA INNISS, ARTISTIC DIRECTOR
MASTERCLASS DESCRIPTION
There’s nothing quite like the thrill of hearing a dramatic or spinto voice hitting high (or low) notes!
But how does a dramatic- or spinto-voiced singer go about building a solid, reliable vocal technique and an operatic career?
How does one get stage experience and build necessary connections while waiting for the voice to fully mature?
Is a Fest position right for a dramatic or spinto voice?
Is the German Theatre system the market for me?
Shall I Mozart or not?
How shall I handle voice and Fach transitions?
This masterclass series brings together world-class dramatic singers with very different career paths to answer those questions and more. Each of them will lead 120-minute masterclasses on everything you ever wanted to know about dramatic voices - technique, repertoire from Bach to Wagner and beyond, career, longevity, Fach transitions, image and so much more.
Artists will have the chance to sing for one or more of the masterclasses (up to all four) and be coached on the repertoire of their choice. In the beginning of each session each faculty member will speak shortly about their career path.
All Opera Programs Berlin's sessions are INTERACTIVE & ENGAGING, and we encourage artists to bring their questions and curiosity.
But how does a dramatic- or spinto-voiced singer go about building a solid, reliable vocal technique and an operatic career?
How does one get stage experience and build necessary connections while waiting for the voice to fully mature?
Is a Fest position right for a dramatic or spinto voice?
Is the German Theatre system the market for me?
Shall I Mozart or not?
How shall I handle voice and Fach transitions?
This masterclass series brings together world-class dramatic singers with very different career paths to answer those questions and more. Each of them will lead 120-minute masterclasses on everything you ever wanted to know about dramatic voices - technique, repertoire from Bach to Wagner and beyond, career, longevity, Fach transitions, image and so much more.
Artists will have the chance to sing for one or more of the masterclasses (up to all four) and be coached on the repertoire of their choice. In the beginning of each session each faculty member will speak shortly about their career path.
All Opera Programs Berlin's sessions are INTERACTIVE & ENGAGING, and we encourage artists to bring their questions and curiosity.
THE PROGRAM HAS NO AGE LIMIT
MASTERCLASS SESSIONS
Masterclass with
PAUL MCNAMARA
Masterclass with
DR. STEPHANIE WEISS
Masterclass with
JEANNE-MICHÈLE CHARBONNET
Masterclass with
JORDAN SHANAHAN
PAUL MCNAMARA
Masterclass with
DR. STEPHANIE WEISS
Masterclass with
JEANNE-MICHÈLE CHARBONNET
Masterclass with
JORDAN SHANAHAN
REGISTRATION
ACTIVE PARTICIPANT
The Masterclass Series will admit only up to 20 active participants.
If you register as an ACTIVE PARTICIPANT, please email us to let us know which masterclass(es) you would like to sing for. Include your first and second choice. You can register for up to 4 masterclasses.
Register via your preferred payment method following the links below.
If you register as an ACTIVE PARTICIPANT, please email us to let us know which masterclass(es) you would like to sing for. Include your first and second choice. You can register for up to 4 masterclasses.
Register via your preferred payment method following the links below.
PARTIAL SCHOLARSHIPS
We have a few partial merit-based scholarships for ACTIVE participants. If you would like to apply for a scholarship, please email us at [email protected] with:
If you are not applying for a scholarship, you can register to any fo the masterclass sessions above under 'Registration'.
- Curriculum Vitae/resume
- recordings of two arias/songs of free choice
If you are not applying for a scholarship, you can register to any fo the masterclass sessions above under 'Registration'.
FACULTY
STEPHANIE WEISS
Stephanie Weiss, mezzo-soprano, was a Regional Finalist of the Metropolitan Opera National Council Auditions and recipient of a Richard F. Gold Career Grant from the Shoshana Foundation from Mannes College of Music. As the winner of the American Berlin Opera Foundation Competition, she became a member of Deutsche Oper Berlin as a Stipendiatin, where in her first season, while still a soprano, she sang Frasquita (Carmen), Musetta, Erste Dame (Die Zauberflöte), Gerhilde (Die Walküre), and Schlafittchen in the Berlin premiere of Das Traumfresserchen.
Ms. Weiss continues to be a regular guest at Deutsche Oper Berlin, where she has sung Marianne Leitmetzerin (Der Rosenkavalier), Aufseherin (Elektra), Zweite Dame (Die Zauberflöte), Grimgerde (Die Walküre), Johanna [cover] (Szenen aus dem Leben der Heiligen Johanna), and Venus [cover] (Tannhäuser) in the company’s tour to Beijing. Other appearances include Opera Orchestra of New York under Eve Queler at Carnegie Hall as Rose (Lakmé), Berlin’s Staatsoper Unter den Linden as Erste Dame (Die Zauberflöte), Marcellina (Le nozze di Figaro) and Marthe (Faust), at Oper Frankfurt as Musetta, and at Stadttheater Bern, San Diego Opera, Oper Dortmund, and Oper Köln as Marianne Leitmetzerin. She debuted with the Berlin Philharmonic as the Cook in Le Rossignol under the baton of Pierre Boulez. Other notable performances have included Venus (Tannhäuser) with Mecklenburgisches Staatstheater Schwerin, Berta (Il Barbiere di Siviglia) and Suzuki (Madama Butterfly) with Opera Las Vegas, and a return to the San Diego Opera as Giannetta (L'elisir d'amore).
Concerts include Wesendonck Lieder with the Henderson Symphony Orchestra, Lieder eines fahrenden Gesellen and Symphony No. 4 with the L’viv Philharmonic (Ukraine), and Santuzza (Cavalleria rusticana) with Singakademie Potsdam. Recent appearances include Grimgerde (Die Walküre) at Oper Leipzig, Sorceress (Dido and Aeneas) with Opera Company of Middlebury, a return to Deutsche Oper Berlin to sing Zweite Dienerin (Die Ägyptische Helena) and Aufseherin (Elektra), and the title role of Johanna (Szenen aus dem Leben der Heiligen Johanna) by Walter Braunfels at Oper Köln. In the 2017/2018 season, she sang Aksinja in Lady Macbeth of Mzensk at Deutsche Oper Berlin, and returned to Oper Leipzig to sing Grimgerde in Die Walküre.
Along with operatic and orchestral concert repertoire, Ms. Weiss is an avid performer of art song and new music. She has performed recitals in the US, France, Germany, Switzerland, and Australia, singing the music of award-winning American and German living composers. With her ‘duo au courant’ partner, pianist Christina Wright-Ivanova, she has sung the world premieres of several song cycles, including Jonathan Stark’s “Passageway”, and Daron Hagen’s “Jaik’s Songs” and “A Handful of Days.” In 2019, the duo released their debut CD of the songs of Daron Hagen, titled Sacred and Profane, on the Albany Records label.
In addition to her singing, Ms. Weiss is Assistant Professor of Voice at Arizona State University’s Herberger Institute for Design and the Arts School of Music. Her research interests include the Zwischenfach voice, as well as transgender singers and related pedagogy. Her experience with transgender singers began with her interest in vocal pedagogy and a transgender student approaching her to ask if she would be willing to work with her. Not knowing much about trans* voices at the time, she took her on and together they explored the voice. Not long after, she began working with another transgender student which led her to learn more about hormonal effects on the voice, especially for trans masculine singers. An advocate for trans* voices, she has been sought out by and worked with several trans* singers of multiple voice types and various styles. Though there are specific issues intrinsic to certain trans* voices that must be addressed, Ms. Weiss finds that it is teaching the whole person and artist to be the most important. Her teaching philosophy is to help any person find their most authentic, free, and beautiful voice and be able use it to express emotion and ideas; she aims to do this for any singer who enters her studio. Continuing to broaden her knowledge of the voice, specifically with relation to trans* singers, she is working towards a certificate in Speech and Hearing: Communication Sciences to complement the degrees she holds from New England Conservatory (B.M. voice), Tufts University (B.S. biology and drama), University of Missouri-Kansas City (M.M), Mannes College of Music (Prof. Studies Dipl.), and University of Nevada, Las Vegas (D.M.A.). Previously, she was Assistant Professor of Voice at University of Nevada, Las Vegas, a Teaching Fellow with the Metropolitan Opera Education Department, on the faculty of COSI (Centre for Opera Studies in Italy) in Sulmona, Italy, every summer teaches at AIMS in Graz in Austria.
Stephanie Weiss, mezzo-soprano, was a Regional Finalist of the Metropolitan Opera National Council Auditions and recipient of a Richard F. Gold Career Grant from the Shoshana Foundation from Mannes College of Music. As the winner of the American Berlin Opera Foundation Competition, she became a member of Deutsche Oper Berlin as a Stipendiatin, where in her first season, while still a soprano, she sang Frasquita (Carmen), Musetta, Erste Dame (Die Zauberflöte), Gerhilde (Die Walküre), and Schlafittchen in the Berlin premiere of Das Traumfresserchen.
Ms. Weiss continues to be a regular guest at Deutsche Oper Berlin, where she has sung Marianne Leitmetzerin (Der Rosenkavalier), Aufseherin (Elektra), Zweite Dame (Die Zauberflöte), Grimgerde (Die Walküre), Johanna [cover] (Szenen aus dem Leben der Heiligen Johanna), and Venus [cover] (Tannhäuser) in the company’s tour to Beijing. Other appearances include Opera Orchestra of New York under Eve Queler at Carnegie Hall as Rose (Lakmé), Berlin’s Staatsoper Unter den Linden as Erste Dame (Die Zauberflöte), Marcellina (Le nozze di Figaro) and Marthe (Faust), at Oper Frankfurt as Musetta, and at Stadttheater Bern, San Diego Opera, Oper Dortmund, and Oper Köln as Marianne Leitmetzerin. She debuted with the Berlin Philharmonic as the Cook in Le Rossignol under the baton of Pierre Boulez. Other notable performances have included Venus (Tannhäuser) with Mecklenburgisches Staatstheater Schwerin, Berta (Il Barbiere di Siviglia) and Suzuki (Madama Butterfly) with Opera Las Vegas, and a return to the San Diego Opera as Giannetta (L'elisir d'amore).
Concerts include Wesendonck Lieder with the Henderson Symphony Orchestra, Lieder eines fahrenden Gesellen and Symphony No. 4 with the L’viv Philharmonic (Ukraine), and Santuzza (Cavalleria rusticana) with Singakademie Potsdam. Recent appearances include Grimgerde (Die Walküre) at Oper Leipzig, Sorceress (Dido and Aeneas) with Opera Company of Middlebury, a return to Deutsche Oper Berlin to sing Zweite Dienerin (Die Ägyptische Helena) and Aufseherin (Elektra), and the title role of Johanna (Szenen aus dem Leben der Heiligen Johanna) by Walter Braunfels at Oper Köln. In the 2017/2018 season, she sang Aksinja in Lady Macbeth of Mzensk at Deutsche Oper Berlin, and returned to Oper Leipzig to sing Grimgerde in Die Walküre.
Along with operatic and orchestral concert repertoire, Ms. Weiss is an avid performer of art song and new music. She has performed recitals in the US, France, Germany, Switzerland, and Australia, singing the music of award-winning American and German living composers. With her ‘duo au courant’ partner, pianist Christina Wright-Ivanova, she has sung the world premieres of several song cycles, including Jonathan Stark’s “Passageway”, and Daron Hagen’s “Jaik’s Songs” and “A Handful of Days.” In 2019, the duo released their debut CD of the songs of Daron Hagen, titled Sacred and Profane, on the Albany Records label.
In addition to her singing, Ms. Weiss is Assistant Professor of Voice at Arizona State University’s Herberger Institute for Design and the Arts School of Music. Her research interests include the Zwischenfach voice, as well as transgender singers and related pedagogy. Her experience with transgender singers began with her interest in vocal pedagogy and a transgender student approaching her to ask if she would be willing to work with her. Not knowing much about trans* voices at the time, she took her on and together they explored the voice. Not long after, she began working with another transgender student which led her to learn more about hormonal effects on the voice, especially for trans masculine singers. An advocate for trans* voices, she has been sought out by and worked with several trans* singers of multiple voice types and various styles. Though there are specific issues intrinsic to certain trans* voices that must be addressed, Ms. Weiss finds that it is teaching the whole person and artist to be the most important. Her teaching philosophy is to help any person find their most authentic, free, and beautiful voice and be able use it to express emotion and ideas; she aims to do this for any singer who enters her studio. Continuing to broaden her knowledge of the voice, specifically with relation to trans* singers, she is working towards a certificate in Speech and Hearing: Communication Sciences to complement the degrees she holds from New England Conservatory (B.M. voice), Tufts University (B.S. biology and drama), University of Missouri-Kansas City (M.M), Mannes College of Music (Prof. Studies Dipl.), and University of Nevada, Las Vegas (D.M.A.). Previously, she was Assistant Professor of Voice at University of Nevada, Las Vegas, a Teaching Fellow with the Metropolitan Opera Education Department, on the faculty of COSI (Centre for Opera Studies in Italy) in Sulmona, Italy, every summer teaches at AIMS in Graz in Austria.
PAUL MCNAMARA
From Ireland, Paul MacNamara 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, 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 Amsterdam Concertgebouw and New York’s Carnegie Hall. In April 2018 the tenor appeared for the first time in Berlin's newest concert hall, the Pierre Boulez Saal, while other recent concert engagements included debuts with the Akademie für Alte Musik Berlin at the Telemann-Festival in Hamburg, at the Festspiele Mecklenburg-Vorpommern with the Deutsches Symphonie-Orchester, in Paris with Orchestre national d’Île-de-France (scenes from Die Walküre and Parsifal) and with the Belgrade Philharmonic Orchestra (Siegfried Act III).
In addition to Wagner’s Claudio (Das Liebesverbot), Erik, Loge, Tannhäuser, Tristan, Siegfried and Parsifal, McNamara’s extensive repertoire encompasses roles by Monteverdi, Cavalli, Mozart, Weber, Meyerbeer, Tchaikovsky, Leoncavallo, Dvořák, Strauss, Janáček, Zemlinsky, Berg, Britten, Previn, Penderecki and Adams.
From Ireland, Paul MacNamara 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, 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 Amsterdam Concertgebouw and New York’s Carnegie Hall. In April 2018 the tenor appeared for the first time in Berlin's newest concert hall, the Pierre Boulez Saal, while other recent concert engagements included debuts with the Akademie für Alte Musik Berlin at the Telemann-Festival in Hamburg, at the Festspiele Mecklenburg-Vorpommern with the Deutsches Symphonie-Orchester, in Paris with Orchestre national d’Île-de-France (scenes from Die Walküre and Parsifal) and with the Belgrade Philharmonic Orchestra (Siegfried Act III).
In addition to Wagner’s Claudio (Das Liebesverbot), Erik, Loge, Tannhäuser, Tristan, Siegfried and Parsifal, McNamara’s extensive repertoire encompasses roles by Monteverdi, Cavalli, Mozart, Weber, Meyerbeer, Tchaikovsky, Leoncavallo, Dvořák, Strauss, Janáček, Zemlinsky, Berg, Britten, Previn, Penderecki and Adams.
JEANNE-MICHÈLE CHARBONNET
After over 25 years as a leading international dramatic soprano, New Orleans-native, Jeanne-Michèle Charbonnet has re-focused her career in sharing her knowledge and experience in the voice studio. She is currently Professor of Voice and Head of the Voice Department at Haute Ecole de Musique, Lausanne, Professor of Voice at Conservatorium van Amsterdam, works closely with the artists of the Dutch National Opera Academy and maintains a private studio. Ms. Charbonnet is on the faculty of Music Academy International, and is Co-Artistic Director and Master Teacher at the Indemini Festival in Indemini, Switzerland.
Ms. Charbonnet has appeared on the stages of the Opéra National de Paris, Teatro Real (Madrid), Deutsche Oper (Berlin), Teatro La Fenice (Venice), the Gran Teatre del Liceu (Barcelona). Teatro Comunale di Firenze (Florence), Teatro Massimo (Palermo), La Monnaie (Brussels), San Francisco Opera, Dallas Opera, the Metropolitan Opera, and the Teatro Municipal (Santiago, Chile), to name a few.
Early in her career, Ms. Charbonnet sang the Italian and Russian spinto roles moving into the German and Contemporary repertoire in her 30’s.
She has sung all the dramatic Wagner heroines and over 50 other lead roles.
Ms. Charbonnet’s discography includes a 2012 Elektra (title role) with Maestro Valery Gergiev and the London Symphony Orchestra, Ariane et Barbe-Bleue (title role) DVD from Barcelona, Erwartung with Maestro Jukka-Pekka Saraste and the WDR (Cologne), Tristan und Isolde (Isolde) DVD with Maestro Armin Jordan and the Grand Théâtre de Génève,
Bluebeard’s Castle (Judith) with Maestro Jukka-Pekka Saraste and the BBC Proms, Lady Macbeth of Mtsensk (title role) DVD with Maestro James Conlon and the Maggio Musicale di Firenze, and Lear by Aribert Reihman (Goneril) with Maestro Sebastian Weigle and Oper Frankfurt.
After over 25 years as a leading international dramatic soprano, New Orleans-native, Jeanne-Michèle Charbonnet has re-focused her career in sharing her knowledge and experience in the voice studio. She is currently Professor of Voice and Head of the Voice Department at Haute Ecole de Musique, Lausanne, Professor of Voice at Conservatorium van Amsterdam, works closely with the artists of the Dutch National Opera Academy and maintains a private studio. Ms. Charbonnet is on the faculty of Music Academy International, and is Co-Artistic Director and Master Teacher at the Indemini Festival in Indemini, Switzerland.
Ms. Charbonnet has appeared on the stages of the Opéra National de Paris, Teatro Real (Madrid), Deutsche Oper (Berlin), Teatro La Fenice (Venice), the Gran Teatre del Liceu (Barcelona). Teatro Comunale di Firenze (Florence), Teatro Massimo (Palermo), La Monnaie (Brussels), San Francisco Opera, Dallas Opera, the Metropolitan Opera, and the Teatro Municipal (Santiago, Chile), to name a few.
Early in her career, Ms. Charbonnet sang the Italian and Russian spinto roles moving into the German and Contemporary repertoire in her 30’s.
She has sung all the dramatic Wagner heroines and over 50 other lead roles.
Ms. Charbonnet’s discography includes a 2012 Elektra (title role) with Maestro Valery Gergiev and the London Symphony Orchestra, Ariane et Barbe-Bleue (title role) DVD from Barcelona, Erwartung with Maestro Jukka-Pekka Saraste and the WDR (Cologne), Tristan und Isolde (Isolde) DVD with Maestro Armin Jordan and the Grand Théâtre de Génève,
Bluebeard’s Castle (Judith) with Maestro Jukka-Pekka Saraste and the BBC Proms, Lady Macbeth of Mtsensk (title role) DVD with Maestro James Conlon and the Maggio Musicale di Firenze, and Lear by Aribert Reihman (Goneril) with Maestro Sebastian Weigle and Oper Frankfurt.
JORDAN SHANAHAN
In recent years, the Hawaiian baritone Jordan Shanahan has been able to make a name for himself internationally, especially with his charismatic interpretations of dramatic roles. He is frequently engaged as the Flying Dutchman, Jochanaan, Telramund, Alberich or Rigoletto, Scarpia and Don Carlo di Vargas. In the 2022/2023 season he also had great success as der Herrscher in Korngold's DAS WUNDER DER HELIANE and Pizarro in FIDELIO, as well as making his successful Bayreuth Festival debut as Klingsor in PARSIFAL. Previously he sang Don Carlo di Vargas / LA FORZA DEL DESTINO at the Graz Opera, Escamillo / CARMEN at the Staatstheater Wiesbaden, Alberich / RHEINGOLD, SIEGFRIED and GÖTTERDÄMMERUNG and Telramund / LOHENGRIN at the Deutsche Oper Berlin, Rodrigo / DON CARLOS at the Aalto Theatre in Essen, as well as Monterone and Rigoletto / RIGOLETTO at the Bregenz Festival. This was followed by his house debuts as Donner /RHEINGOLD at the Zurich Opera House and as Jochanaan / SALOME at Covent Garden in London. Future plans include his debut as Barak in DIE FRAU OHNE SCHATTEN in a new production at Oper Köln, Telramund, Amonasro and Alberich at Deutsche Oper Berlin, his house debut at Teatro Real as Monterone in RIGOLETTO and his role debut as Amfortas, again at Deutsche Oper Berlin. Jordan Shanahan made his professional operatic debut as Silvio / PAGLIACCI at the Natchez Opera Festival in the USA back in 2002. Since then he has sung well over 70 leading roles at major international houses and festivals; including appearances at the Metropolitan Opera, Lyric Opera Chicago, Bayerische Staatsoper in Munich. Jordan Shanahan's repertoire is wide-ranging and includes roles such as Rossini's and Mozart's FIGARO, bel canto repertoire such as Donizetti's Belcore / L'ELISIR D'AMORE or Enrico / LUCIA DI LAMMERMOOR, but also Tchaikovsky's EUGEN ONEGIN and Yeletsky / PIQUE DAME. In addition to the standard repertoire, Jordan Shanahan has already made a name for himself in contemporary repertoire with roles such as Joseph de Rocher / DEAD MAN WALKING, Robert Oppenheimer / DR. ATOMIC, The Protector / WRITTEN ON SKIN and Il Uomo / SENZA SANGUE, many of the most important composers of our time have placed their trust in him. On the concert stage, Jordan Shanahan has enjoyed equal success in a wide range of repertoire: from Handel's MESSIAH, Mendelssohn's ELIAS, Stravinsky's OEDIPUS REX, to Verdi's REQUIEM; whether at the Palace of Arts in Budapest, the Concertgebouw in Amsterdam, or with other major orchestras throughout Europe (most recently in 2023 with Daniele Gatti with Santa Cecilia in Rome) and at Carnegie Hall in the United States of America. Jordan Shanahan now lives in Switzerland and performs regularly in Europe, North America, Asia and of course in his native Hawaii.
In recent years, the Hawaiian baritone Jordan Shanahan has been able to make a name for himself internationally, especially with his charismatic interpretations of dramatic roles. He is frequently engaged as the Flying Dutchman, Jochanaan, Telramund, Alberich or Rigoletto, Scarpia and Don Carlo di Vargas. In the 2022/2023 season he also had great success as der Herrscher in Korngold's DAS WUNDER DER HELIANE and Pizarro in FIDELIO, as well as making his successful Bayreuth Festival debut as Klingsor in PARSIFAL. Previously he sang Don Carlo di Vargas / LA FORZA DEL DESTINO at the Graz Opera, Escamillo / CARMEN at the Staatstheater Wiesbaden, Alberich / RHEINGOLD, SIEGFRIED and GÖTTERDÄMMERUNG and Telramund / LOHENGRIN at the Deutsche Oper Berlin, Rodrigo / DON CARLOS at the Aalto Theatre in Essen, as well as Monterone and Rigoletto / RIGOLETTO at the Bregenz Festival. This was followed by his house debuts as Donner /RHEINGOLD at the Zurich Opera House and as Jochanaan / SALOME at Covent Garden in London. Future plans include his debut as Barak in DIE FRAU OHNE SCHATTEN in a new production at Oper Köln, Telramund, Amonasro and Alberich at Deutsche Oper Berlin, his house debut at Teatro Real as Monterone in RIGOLETTO and his role debut as Amfortas, again at Deutsche Oper Berlin. Jordan Shanahan made his professional operatic debut as Silvio / PAGLIACCI at the Natchez Opera Festival in the USA back in 2002. Since then he has sung well over 70 leading roles at major international houses and festivals; including appearances at the Metropolitan Opera, Lyric Opera Chicago, Bayerische Staatsoper in Munich. Jordan Shanahan's repertoire is wide-ranging and includes roles such as Rossini's and Mozart's FIGARO, bel canto repertoire such as Donizetti's Belcore / L'ELISIR D'AMORE or Enrico / LUCIA DI LAMMERMOOR, but also Tchaikovsky's EUGEN ONEGIN and Yeletsky / PIQUE DAME. In addition to the standard repertoire, Jordan Shanahan has already made a name for himself in contemporary repertoire with roles such as Joseph de Rocher / DEAD MAN WALKING, Robert Oppenheimer / DR. ATOMIC, The Protector / WRITTEN ON SKIN and Il Uomo / SENZA SANGUE, many of the most important composers of our time have placed their trust in him. On the concert stage, Jordan Shanahan has enjoyed equal success in a wide range of repertoire: from Handel's MESSIAH, Mendelssohn's ELIAS, Stravinsky's OEDIPUS REX, to Verdi's REQUIEM; whether at the Palace of Arts in Budapest, the Concertgebouw in Amsterdam, or with other major orchestras throughout Europe (most recently in 2023 with Daniele Gatti with Santa Cecilia in Rome) and at Carnegie Hall in the United States of America. Jordan Shanahan now lives in Switzerland and performs regularly in Europe, North America, Asia and of course in his native Hawaii.
