Tenor Mingjie Lei, a native of Hengyang, China, is rapidly gaining acclaim in United States. a second-year Patrick G. and Shirley W. Ryan Opera Center member, he returns to the program after spending much the summer participating in the Salzburg Festival’s prestigious Young Singers Project, where he was featured in the production of Purcell’s The Fairy Queen, as well as a soloist in concerts with Camerata Salzburg and Mozarteum Orchestra, he was invited to performed with Ravello Festival in Italy in the New Voice of Opera concert. This season he will be seen on the stage of Lyric Opera of Chicago in the Productions of Berlioz’s Les Troyens as Iopas and Bizet’s Carmen as Remendado, as well as a special performance by celebrating Plácido Domingo in Verdi’s La Traviata as Gastone.
The 2015-2016 season, he joined the Patrick G. and Shirley W. Ryan Opera Center Ensemble of Lyric Opera of Chicago, and soon will be singing on Lyric Stage in the productions of Der Rosenkavalier and Romeo et Juliette, as well as covering the role of Don Ramiro in La Cenerentola and role of Gen in the World Premiere Bel Canto, he will be returning to Carnegie Hall in NYC to sing the tenor soloist in Handel’s Messiah under Maestro Kent Tritle, also he will be part of the Beyond the arias series with Chicago Harris Theater with Pianist Craig Terry.
Highlights of past seasons includes his Carnegie Hall debut(2013) singing Handel’s Messiah with Cecilia Chorus and Orchestra of New York, Conte di Lerma and Un Araldo Reale in Verdi’s Don Carlo with Opera Philadelphia, Romeo (excepts) from Gounod’s Romeo et Juliette with New Jersey Symphony Orchestra and as tenor soloist in Handel’s Messiah with Oratorio Society of New York under direction of Kent Tritle in Carnegie hall (2014), he also appear with the New York Festival of Song performing with Composer Bright Sheng. he attended the Mozart Residency of Festival Aix-en-Provencein France at the past summer and received the Prix des amisfor the best Mozart performance. he sang Nemorino in Donizetti’s L’elisir d’amore, Don Ramiro in Rossini’s La Cenerentola, Almeric in Tchaikovsky’s Iolanta, Dorvil in Rossini’s La Scala di seta, Brighella in Strauss’s Ariadne auf Naxos with Curtis Opera Theater, Young Collector in Pervin’s A Streetcar named desire and Jupiter in Handel’s Semele in Schwabacher Summer Concert with Merola Opera Program with San Francisco Opera, he sung as Don Ottavio in Mozart’s Don Giovanni with Banff Music Festival in Canada, and coverd Tamino in Mozart’s Die Zauberflote, Ernesto in Donizetti’s Don Pasquale ( excepts) and as the tenor soloist in Stravinsky’s Pucilnella with Music Academy of the West under the direction of Marilyn Horne and Warren Jones. Leon in Corgliano’s the Ghosts of Versailles at Manhattan School of Music and Arturo in Donizetti’s Lucia di Lammermoor with Thomas Muraco’s Opera Repertoire Ensemble, he sung as Uriel in Haydn’s Die Schopfung (The Creation) with Manhattan School of Music Symphony Orchestra Conducted by Kent Tritle.
Mingjie Holds a Bachlor of Music from Central Conservatory of Music in Beijing, a Master of Music in voice from Manhattan School of Music in New York City, an Artist Diploma in Opera from the Curtis Institute of Music in Philadelphia. he has received awards from Opera Index Inc., Gerda Lissner Foundation, Mario Lanza Institute, Licia Albanese-Puccini Foundation, Giulio Gari Foundation and Kurt Weill Foundation.
Mingjie Lei, tenor
But, ahhhh! The singing! Piotr Beczala was a marvel as Edgardo, singing with romantic ardor and passion and sheer clarion vocalism while letting us see every aspect of the mercurial Ravenswood. Costumed and handsomely wigged in the role, Beczala was softly romantic with Lucia in the first act, furiously swaggering as he challenges Enrico, and finally plaintive and defeated in a deeply moving tomb scene. This tenor is always good, but last night I had the feeling that he has now moved to a higher level of performance.
Straordinario riconoscimento per il tenore di Porto Torres che ha impersonato Alfredo in sostituzione del collega malato al Metropolitan Opera House, il New York Times scrive: « Con la sua voce dolce e calda Demuro ha salvato la serata »
Ancora l’Ansa racconta le « cose maravigliose » accadute al Metropolitan Opera House di New York, il più grande teatro dell’opera del mondo: « L’episodio, riportato da un comunicato dello stesso tenore, viene raccontato con dovizia di particolari dal New York Time: «Un sipario in ritardo e un nuovo eroe: Francesco Demurro (ancora una r di troppo) salva la Traviata al Met», recita il titolo dell’articolo del rinomato critico del New York Times, Anthony Tommasini. «Con la sua voce calda e dolce Demurro ha salvato la serata», scrive spiegando che il pubblico aveva aspettato 15 minuti prima che cominciasse la recita con l’annuncio che Stephen Costello, un giovane tenore americano, era malato e sarebbe stato sostituito da Demurro ».
This page is a compilation of opera-related words and nicknames that come up often in online discussion but that you’d be hard-pressed to find in a conventional opera glossary.
- Mezzosexual: Someone who is attracted to mezzo-sopranos when they’re playing trouser roles. The term is typically used when this is contrary to the person’s usual sexual orientation.
- Barihunk: A hunky baritone. There’s an entire blog devoted to them.
- Jonas Kaufmann: der Jonas, JK, El Guapo
- … suite de article
Source: Urban Vivrà