https://www.paulfarrington.org/

 

Paul who has specialized for over 40 years in teaching and coaching the solo voice, is leading masterclasses, courses and workshops throughout Europe, Asia & Australasia.

 

Paul has been Vocal Health & Technique Consultant at the Royal Opera House Covent Garden for over 20 years, and will return as Vocal Consultant to Opera Studio and Company Principals of The New National Theatre Tokyo in 2022. He continues his role as Principal vocal coach at Göteborgs Operan and coaches the Principal artists of both the Opera and Musical Theatre Companies, and during his 20-year association with the Operan has coached on every major production to open in the house.

 

Throughout the pandemic Paul continued to work online with singers from all over the world from his studio at home. In July 2020 he launched ‘Paul Farrington Voiceworks’, which this year saw the successful third edition with both Masterclass and the course for Singing Teachers and Professional Voice Users taking place in London for the first time after two years of online presence.

 

In March 2014 Paul was appointed as Full Professor of Opera & Vocal Pedagogy at the Norwegian National Academy of the Arts in Oslo alongside coaching at the Norsk Opera. He has been Vocal Health & Technique Consultant at the New National Theatre Tokyo for over 12 years, and is the vocal coach to some of the world’s foremost opera and concert performers. Paul has taught at the Royal Academy of Music, Royal Birmingham Conservatoire and Royal Welsh Conservatoire and was visiting Professor of Singing at the Opera Academy of Stockholm for many years. He has been invited to lecture to the British Voice Association, and National Association of Laryngologists in the UK, and to a number of singing teachers associations in Europe, and was also invited on a number of occasions by world renowned voice scientist Johan Sundberg to present at Voice science events at Tekniska Högskolan Stockholm.

 

Paul was vocal coach and music consultant to the cast of several outstanding movies and TV productions including ‘Quartet’ directed by Dustin Hoffman, the Oscar nominated ‘The Theory of Everything’ and more recently he was the Opera coach and advisor for the Netflix blockbusters Bridgerton and The Crown season 3 and 4 as well as working on the SKY movie A Town called Malice.

 

He trained and studied with Jo Estill and is one of only 11 people in the world to be licensed as a ‘Vanguard’ by Jo herself. Awarded in recognition as a pioneer presenter of Jo’s work.

 

Paul is also uniquely qualified as a Specialist Vocal Coach, having been for over 20 years a Clinical Vocal Consultant at University Hospital Birmingham, and is currently associated with the foremost London Voice Clinic practice, specializing in developing and remediating professional voice users of all kinds.

 

Paul studied Voice and Piano at the Birmingham School of Music and after graduating he sang for many years as a Recital and Oratorio soloist as well as being a member of Birmingham Opera touring the UK. He combined performing, with working as both stage and musical director at Guildford School of Acting and Birmingham School of Acting.

 

 

 

https://www.necmusic.edu/faculty/michael-meraw

 

Baritone Michael Meraw has performed with companies across North America (including: Pacific Opera Victoria, the Victoria Symphony Orchestra, the Banff Centre, Edmonton Opera, the Richard Eaton Singers, Symphony Regina, the National Arts Centre, the Thirteen Strings, Opéra Atelier, Opera in Concert, Montreal Opera, Seattle Opera, Virginia Opera, and the Boston Symphony Orchestra), in repertoire ranging from Monteverdi and Handel, to Webern and Szymanowski. Not only has Meraw garnered critical acclaim in the standard repertoire, winning praise for his Figaro in Rossini's Barber of Seville and Orff's Carmina Burana, but he has also brought lesser-known works to new audiences through his incisive portrayals of such roles as King Roger by Szymanowski ("Meraw did well as Roger, with nervy urgency and gripping delivery of his increasingly anguished lines..." — Geoff Chapman, The Toronto Star) and Sir John A. MacDonald in Somers's Louis Riel ("Dealing with a vocal part that veers from sprechgesang to dramatic declamation, baritone Michael Meraw showed great vocal cut and thrust, in addition to contributing a striking stage presence." — Richard Turp, Opera Canada). Mr. Meraw has performed many of the standard baritone parts in oratorio including Mendelssohn’s Elijah, Orff’s Carmina Burana, Handel’s Messiah, Judas Maccabeas, Joshua and Israel in Egypt, and the Requiem’s of Brahms and Faure. A regular recitalist, his repertoire spans the baritone repertoire in English, French, German, Italian and Russian.

 

As well as his regular voice studio at New England Conservatory and his responsibilities as the Artistic Director of NEC’s Undergraduate Opera Studio, Mr. Meraw has become a regular Master clinician and adjudicator at several festivals in China, and will be joining the faculty of AIMS in Graz this summer. Many of his students have gone onto success, winning positions in young artist programs and artist contracts in the United States, Canada and Europe. Michael’s students can include La Scala, the Chatelet, L’Opera Comique in Paris, Minnesota Opera, St. Louis Opera, Montreal Opera, BBC Proms, the Chicago Symphony Orchestra and the Montreal Symphony Orchestra among their recent credits.

 

Bachelor of Early Music Performance, M. Mus. in Solo Vocal Performance, McGill University. Voice studies with Eva Bostrand, Alan Fast, William Neill, Dixie Ross-Neill, Mark Pedrotti, Lucille Villeneuve-Evans, Dr. Robert K. Evans. Fencing and Stage Combat with Jean-François Gagnon of the National Theatre School of Canada. Ballet and Modern Dance with Daniel Seller, Vincent Warren, and Sasha Belinski at Les Grands Ballet Canadiens. Former faculty of McGill University and l'Unversite de Montreal, where he taught studio voice as well as French and Italian diction and a graduate seminar entitled Vocal Styles and Conventions.

 

 

 

https://www.olgamakarina.com/

 

As the great Giuseppe di Stefano already recognized during Ms. Makarina`s student years at the Mannes School of Music – bel canto repertoire became her trademark and the space in which she has distinctively delivered some of her signature roles and have opened her doors to some of the greatest stages worldwide.Less than a year after winning the Metropolitan Opera Auditions, Ms. Makarina has made her stage debut in New York City opera in the title role of Lucia di Lammermoor. These successful performances marked the beginning of her long and fruitful worldwide career, with her base in New York City, where she sang at The Metropolitan Opera for 18 seasons and was regular on other stages of the city - the New York City Opera, Lincoln Center, Carnegie Hall and where she now has her own studio on Manhattan, where she passionately shares her knowledge with the new generations of opera singers.

 

Ms. Makarina`s portfolio includes impressive number of title and leading roles in some of the most beloved and performed operas of the Italian and French repertoire – Verdi`s Violetta, Gilda and Desdemona; Donizetti's Lucia Ashton, Adina, Lucrezia Borgia and Anna Bolena; Bellini`s Amina, Elvira, Norma and Imogene; Puccini`s Mimì and Liù; Rossini`s Albina; Massnet`s Manon and Thaïs, Mayerbeer`s Marguerite de Valois, Halevy`s Eudoxie, Bizet`s Micaela, Offenbach`s Olympia and Antonia. She has also made highly acclaimed performances of Mozart`s heroines (Pamina, Vittelia, Donna Elvira, Donna Anna, Ilia, Elletra, Konstanze), R.Korsakov`s Marfa (with Olga Borodina) and Glinka`s Lyudmila; and some of the most demanding roles of contemporary repertoire, written for coloratura soprano: Stravinsky's The Nightingale, Strauss`s Zerbinetta and Italian singer, Ravel`s The Fire and Respighi`s Princess.

 

Outside New York, she performed on stages all over the world, including the Canadian Opera, Teatro Liceu in Barcelona, Las Palmas Opera, Opera di Roma, Teatro Regio in Rome, Opera La Coruna, Mariinsky Theater, Teatro de Bellas Artes in Mexico City, Teatro Colon in Buenos Aires, Kirov Opera, National Theater in Prague, Slovak National Opera, Opera Pacific, Palm Beach Opera and Warsaw’s Grand Theater.Ms. Makarina performed in highly acclaimed festivals among which are the Spoleto festival, the Cesky Krumlov Festival with the Brno Philharmonic that was televised in Eurovision, Macau Festival, Rome’s Euro Festival Mediterraneo where she sang a concert of bel canto arias and scenes with Eve Queler and the Malta Symphony at the site of Hadrian’s Villa which was telecast in Italy, and Bard Festival.

 

Ms. Makarina made her stage debut singing Mozart’s C minor mass with Yehudi Menuhin. She has since performed with many top conductors such as James Levine, Valery Gergiev, Zubin Mehta, Nello Santi and Bruno Campanella. Her concert appearances include numerous recitals opera houses and concert halls around the world and performances of soprano solo parts in Verdi`s Requiem, Orf`s Carmina Burana and Catuli Carmina, Mahler’s 2nd and 4th Symphony, Mozart`s Exsultate Jubilate and Coronation mass, Bach`s Cantata 51 for soprano solo, Mendelsons` Elias, Handle`s Messiah, List`s Missa Solemnis and Brahms` German Requiem. She sang the world premiere of Puccini Songs, a new ballet by choreographer, Nilas Martins based on nine songs by Puccini and repeated this work with Ballet San Jose.

 

Ms. Makarina has recorded three solo albums with Romeo Records: Italian Opera Arias, Olga Makarina Sings Liszt, Tchaikovsky, Rachmaninov, and Mozart: Arias; Exsultate, Jubilate. Her performances in Rossini`s La donna dell lago and R. Strauss`s Capriccio from The Met are available as on demand HD videos.

 

Aside from giving private lessons in her studio on on Manhattan, Ms. Makarina travels all over the world to give master classes. She has taught in Israel, Russia, New York and Japan, and is a Management Board Member at The Elena Obraztsova International Academy of Music in St. Petersburg.

 

A graduate of the Mannes School of Music, Ms Makarina also has her Masters in piano and voice from the St Petersburg Conservatory, where she also studied Choral conducting, all of which gave her thorough and multi angled perspective on opera and classical music in general, that is incorporated in the way she perceives music and teaches it. She has won a number of important prizes and awards including the Metropolitan Opera Auditions, the Musicians Emergency Fund and the Liederkranz Competition.

 

Throughout her career she had fantastic mentors in the opera legends such as Marylin Horne and Renata Scotto (with whom she prepared the most of her signature bel canto roles) and the conductor Henry Lewis, that she often talks about as one of the most important figures in forming her artistic personality and the way she thinks about music.

 

All of this collected knowledge, Ms. Makarina aims to transfer to her students in a holistic manner 

- knowledge about singing technique (that she considers to be her legacy), traditions, styles, languages, and mindset and etiquette of being a an musician, opera singer and scholar, combined with personal experiences and on and offstage tips and tricks she collected throughout the career. Her approach is individual and tailored to each student's current level and needs, with a longtime goal to make each singer self-aware and independant when it comes to using their own instrument.

 

 

 

https://www.sydney.edu.au/music/about/our-people/academic-staff/anke-ryan.html

 

Background: Born, Germany. She studied with Professor Renate Faltin at the Hanns-Eisler Conservatorium in Berlin, graduating with a master’s degree in Performance. She won the first prize in the Hanns-Eisler Liederwettbewerb, the award for the best vocal Graduate in the German Democratic Republic and the Bayreuth Stipendium in 1993. Anke won the inaugural Helpman Award for her lead role as Cio Cio San in Madama Butterfly in 2001, and in 2007 she was again nominated for the Helpman Award for her portrayal of Procne in The Love of the Nightingale.

 

Anke’s operatic repertoire includes Turandot, Tosca, Minni in La Fanciulla del West, the Title role in Madama Butterfly, Mimi in La Boheme, Procne in The Love of the Nightingale, Emilia Marty in Vĕc Makropulos, Leonore in Fidelio, Foreign Princess in Rusalka, the Title role in Iphigénie en Tauride, the Title role in Jenufa, Lucretia Janz in Batavia, Giulietta in Tales of Hoffmann, Elvira in Don Giovanni, Fata Morgana in The Love For Three Oranges, Santuzza in Cavalleria Rusticana, the Hexe in Hänsel und Gretel, Gerhilde and 3rd Norn in Der Ring des Nibelungen.

 

Anke performed at the Komische Oper Berlin, the Staatsoper Berlin, Opera Australia, Opera Queensland, the West Australian Opera, the State Opera of South Australia, the Schleswig-Holsteinisches Landestheater, the Neue Opernbühne Berlin, the Otono Festival in Madrid, the Melbourne International Arts Festival and the Perth International Arts Festival.

 

Anke performed under the batons of some of the world’s leading conductors, including Sir Charles Mackerras, Simone Young, Shao Chia Lü, Carlo Felice Cillario, Patrick Summers, Lionel Friend, Andrea Licata, Johannes Fritzsch, Jörg- Peter Weigle, Aldo Salvagno, Prof. Rolf Reuther, Josef Colaneri and Joachim Willert.

 

Anke worked with leading directors Harry Kupfer, Neil Armfield, Graeme Murphy, Christine Mielitz, Michael Gow, Lindy Hume, Stuart Maunder, Moffatt Oxenbould, Nigel Jamieson and Andrew Sinclair.

 

Concert engagements include soprano solo in Beethoven’s Symphony No.9 with the Tasmanian Symphony Orchestra, Queensland Symphony Orchestra and the Orchestra of the Sydney Conservatorium of Music, Verdi Requiem and Salome with the Orchestra of the Sydney Conservatorium of Music, Liederabende with songs of Schubert, Schumann, Strauss, Schönberg, Zemlinsky and Dvorák in the London Opera Festival, the Komische Oper Berlin, the Melbourne International Music Festival, Barossa Music Festival and Wagner Society NSW; the Brahms Requiem with the Schleswig-Holsteinisches Sinfonieorchester, the Mozart Requiem in the Berliner Philharmonie, Pergolesi’s Stabat Mater with the Neubrandenburg Philharmonic Orchestra and the Schleswig-Holsteinisch Sinfonia Orchestra, and Marie in excerpts from Berg’s Wozzeck with the Philharmonic State Orchestra Halle.

 

Anke Höppner has been broadcast in radio and television by NDR, WDR, ORB and the ABC.

 

Anke is currently lecturing in voice and opera at the Sydney Conservatorium of Music. In April 2019 she was awarded the academic degree of Doctor of Musical Arts by The Sydney University or her research about operatic cover-work.

 

 

 

https://www.sydney.edu.au/music/about/our-people/academic-staff/stephen-mould.html

 

Stephen Mould is a Senior Lecturer in Conducting, Opera Studies and Repetiteurship at the Sydney Conservatorium of Music, and Artistic Director of the Conservatorium Opera.

 

He studied at the Sydney Conservatorium (B Mus, Grad Dip, Repetiteur) and Royal Academy of Music, London before commencing a career as repetiteur, musical assistant and conductor in opera houses in Germany, Belgium, London, USA, Asia and Australia. He was Assistant to the Music Director of Oper Frankfurt (1993-6), returning to Australia in 1996 where he held a number of key positions at Opera Australia, as conductor, musical assistant, and Head Of Music (2004 -8). He has conducted most state orchestras in Australia along with the major orchestras in New Zealand, been engaged by the Sydney, Melbourne and Brisbane Festivals as well as working for most of the State opera companies in Australia, including State Opera of South Australia, assisting on both Wagner Ring Cycles, Parsifal and retaining an association with that company as conductor. He joined the faculty at Sydney University in 2009, and completed his dissertation, Curating Opera in 2016.

 

His research activities centre upon opera and conducting, with a focus from the mid-eighteenth century until the present day. Interests include the history of opera and the rise of the conductor, along with performance practice-based research across both areas; the developing role of the conductor from the late nineteenth century; Richard Wagner; Mozart reception; Gustav Mahler as conductor and opera practitioner; the impact of historically aware performance practice upon the conducting profession; aspects of authenticity, Werktreue and Retuschen; the historical background to the conducted repertoire are all central areas of teaching and research. His teaching of conducting incorporates the study of the marked scores of iconic conductors of the past. The collection and study of such material forms the core of his current research.

 

His book, Curating Opera is awaiting publication, and he is currently at work on his next, Reading Conductors. He has also published in the area of the visual arts, including a monograph on the lives of Dušan and Voitre Marek, two émigré surrealist artists who migrated to Australia in the wake of WW2. This area of study is an ongoing field of study for Dr Mould.

 

Recent and current HDR students have worked on Retuschen in Beethoven’s 9th Symphony; The role of ambiguity in Britten’s The Turn of the Screw; The future role for opera in defining new cultural contexts; and the developing role of the conductor in nineteenth century Italy.

 

 

 

 

 

 

https://www.matteojin.com/

 

Born In Cheonan, South Korea, in 1987. After graduating from a lyrical singing program at Seoul Arts High School, he moved to Italy to study at the Giuseppe Verdi Conservatory Music G. 

Verdi of Milan, where he graduated with top honours. 

 

Matteo has both won and finalized in several international competitions including: Premio Giulotto di Pavia, Città di Asti, Citta di Brescia, Spiros Argiris, Porana Lirica, Moncalvo in Canto, F.P. Tosti in Franciacorta, Salice d’Oro, Martini-Mantova, Rinaldo Pelizzoni, Premio delle Arti, Riccardo Zandonai, OMEGA, Città d’Iseo, A. Bazzini, Adriana Maliponte, Gaetano Fraschini di Pavia, Ottavio Garaventa, Magrot Kaftal Prize, Salvatore Licitra, Spazio Musica, San Colombano and Giulio Fregosi He has also worked with a range of renowned Conductors and Singer such as Paolo Olmi, Giuliano Carella, Marco Guidarini, Alessandro D’agostini, Michael Balke, Stefano Romani, Roberto Gianola, Enrico Zucca, Riccardo Serenelli, Gabriella Ravazzi, Alfonso Antoniozzi, Gianmaria Aliverta, Chiara Taigi, Anna Valdetarra, Piero Giuliacci, Alejandro Roy, Valter Borin, Francesco Medda, Ambrogio Maestri, Simone Piazzola, Giacomo Prestia e Francesco Ellero D’artegna.

 

Matteo Jin made his operatic debut in Italia singing as Figaro (Il Barbiere di Siviglia). In the past seasons he performed Figaro of Barbiere di Siviglia, Belcore and Dulcamara of Elisir D’amore, Lord Enrico Ashton of Lucia di Lammermoor, Giorgio Germont of Traviata, Il Conte di Luna of Trovatore, Rodrigo of Don Carlos, Rigoletto of Rigoletto, Nabucco of Nabucco, Amonasro of Aida, Falstaff of Falstaff, Sharpless of Madama Butterfly, Marcello and Schaunard of Boheme, Alfio of Cavalleria Rusticana and Tonio of Pagliacci. What’s more, Matteo has performed in many Italian theatres, including Teatro degli Arcimboldi of Milan, Teatro Grande of Brescia, Teatro Fraschini of Pavia, Teatro Goldoni of Livorno, Teatro Coccia of Novara, Teatro Sociale of Rovigo Teatro Teatro Nuovo Giovanni of Udine, Teatro Alessandro Bonci of Cesena, Teatro Alfieri of Asti, Teatro Francesco Cilea of Reggio Calabria, Teatro Diego Fabbri of Forli, Teatro Tullio Serafin of Cavarzere, Teatro Mancinelli of Orvieto, Teatro Persiani of Recanati, Teatro Feronia of San Severino Marche, Teatro Valle of Chiaravalle, Teatro San Babila of Milano, Teatro Bibiena of Mantova and Teatro Giuseppe Verdi of Busseto.

 

Among the other recent engagements : The Title Roles of Rigoletto, Nabucco and Giorgio Germont at Teatro Mario del Monaco of Treviso, Teatro Grande of Brescia, Teatro degli Arcimboldi of Milano, Teatro Mancinelli of Orvieto, Teatro Alessandro Bonci of Cesena, Teatro Stabile Opera & Ballet of Magnitogorsk (Russia), Sharpless in Butterfly at Teatro Giuseppe Verdi of Busseto, Enrico in Lucia di Lammermoor at Festival Lirica in Circolo of Crema e Rodrigo di Posa in Don Carlo at Opera På Skäret in Svezia, And Made his Role debut in the Title Role of Simon Boccanegra at Festival Lirica in Circolo delle Muse of Crema with huge success. 

 

Another time in the Title Role of Rigoletto and Tonio of Pagliacci at Tour in Spagna. Alfio in Cavalleria Rusticana at Teatro Goldoni of Livorno, Teatro Coccia of Novara, Teatro Sociale of Rovigo and Teatro Grande of Brescia. Future engagement is as Baritone Solist of Requiem Francesco Andreoli and Title Role of Nabucco at Teatro Coccia of Novara.

 

 

 

https://crescendiartists.com/portfolio/insung-sim/

 

South Korean bass Insung Sim enjoys a successful international career. He is famous for his warm, round, cantabile voice of quality and his noble stage presence.

 

Insung Sim’s most recent highlights in 2022 and 2023 include (among others)

 • Il Re/Aida (with Noseda and Robert Carsen) at Royal Opera House Covent Garden

 • a role debut as Palémon/Thaïs at Teatro alla Scala di Milano

 • Sarastro/Die Zauberflöte at Opéra Orchestre National Montpellier Occitanie and at Teatro Regio di Torino

 • Vodnik/Rusalka at Opéra-Théâtre de Metz Métropole; • Ramfis/Aida at the Israeli Opera Tel Aviv;

 • Timur/Turandot at Tokyo Spring Festival

 • 1 Soldat/Salome at Teatro Petruzelli di Bari

 • Mozart’s Requiem with Malmö Symphony Orchestra. 

 

His future highlights include (among others)

 • Raimondo/Lucia di Lammermoor and Fasolt/Das Rheingold at Royal Opera House Covent Garden

 • Lodovico/Otello and Pope Leone/Attila at Teatro Real de Madrid

 • Ramfis/Aida at Teatro La Maestranza de Sevilla, and at the St. Margarethen Festival in Austria

 • Bonzo/Madama Butterfly at Teatro Petruzelli di Bari

 • King Heinrich the Fowler/Lohengrin at Ópera de Oviedo

 • Le Comte des Grieux/Manon at Ópera de Tenerife

 • Mozart’s Requiem at the Granada Festival.

 

In 2020 and 2021 Insung Sim’s performances included Il Commendatore/Don Giovanni and Principe di Bouillon/Adriana Lecouvreur at Teatro Petruzelli di Bari; Principe di Bouillon/Adriana Lecouvreur at Ópera Las Palmas de Gran Canaria; Sarastro/Die Zauberflöte at Komische Oper Berlin; Giovanni/Il Corsaro at Opéra de Monte-Carlo; Verdi’s Requiem at Opera Philadelphia in the USA.

 

In recent years the artist also performed Lodovico/Otello at Tokyo Bunka Kaikan, Filipp II/Don Carlo, Fiesco/Simon Boccanegra and Le bailli/Werther in Tel Aviv, Wurm/Luisa Miller and Lodovico/Otello at Opéra de Monte-Carlo, Ramfis/Aida at Festival de Sanxay in France, Timur/Turandot at Teatro Comunale di Bologna, Lodovico/Otello with ROH Covent Garden London and Pappano on Tour to Japan and in London, Ramfis/Aida at Fondazione Arena di Verona, Ferrando/Il Trovatore and Bonzo/Madama Butterfly at Teatro Regio di Torino, Banco/Macbeth in Toulouse, Sarastro/Die Zauberflöte with Komische Oper Berlin on Tour to Japan and also Australia and New Zealand; Sarastro/Die Zauberflöte, Banco/Macbeth and Mozart’s Requiem concerts in Santiago.

 

Other past performances of Insung Sim include Padre Guardiano/La Forza del Destino in Las Palmas, Alvise/La Gioconda at Malmö Opera, Phorbas/Oedipe with Maestro Jurowski at London Philharmonic Orchestra, Verdi Requiem with Fabio Luisi and DR Symfoniorkester, Banco/Macbeth in Teatro Municipale Salerno, Phorbas/Oedipe, Sarastro/Die Zauberflöte, Colline/La bohème, Timur/Turandot and Lodovico/Otello (with Pappano) at Royal Opera House Covent Garden in London, Oroveso/Norma in Essen, La Wally, Attila and Maria Stuarda at Opéra de Monte-Carlo, Sarastro/Die Zauberflöte, Timur/Turandot and Re/Aida at Teatro Regio di Torino (w. Noseda), Wurm/Luisa Miller at Teatro Verdi di Trieste, Matthäus Passion with Copenhagen Royal Chapel Choir, Fafner/Siegfried in Tokyo, Zaccaria/Nabucco at Festival di Caserta, Zaccaria/Nabucco, Commendatore/Don Giovanni and Il Re/Aida in Arena di Verona, Timur/Turandot in Toulouse, Sarastro/Die Zauberflöte and Raimondo/Lucia di Lamermoor in Teatro Filarmonico di Verona, Hunding/Walküre in Tokyo, Nourabad/Les Pêcheurs de Perles and Zaccaria/Nabucco (with Daniel Oren) in Tel Aviv, Sarastro/Zauberflöte with Ottavio Dantone and Marchese di Calatrava/La Forza del Destino with Zubin Mehta at Palau de Les Arts de Valencia, Il Commendatore/Don Giovanni in Montpellier, Die Legende von der Heiligen Elisabeth by F. Liszt at Staatsoper Stuttgart, Rocco/Fidelio at The New Opera in Bergen, Ramfis/Aida and Sarastro/Die Zauberflöte in Santiago, Timur/Turandot at Puccini Festival di Torre del Lago, Sparafucile/Rigoletto in Kristiansand and others.

 

His 2012-13 season took him to his debut at the National Theater Mannheim, where he sang the role off Fafner and Sarastro. He visited Opera Monte Carlo in the role of Count Rodolfo in La Sonnambula by Bellini. Furthermore, Mr. Sim was seen at Teatro Municipal de Santiago, where he sang the title role of Attila and the role of Papa Leon in Attila by Verdi.

 

In March 2012 Mr. Sim appeared as Timur/Turandot with Trondheim Symphony Orchestra.

 

In the seasons 2008-2010 Mr. Sim has been singing at important venues such as Montpellier Festival, Tokyo Opera Nomori, Teatro Massimo di Palermo and at Glynbourne Festival, where he has been captivating audiences in the roles of Pimen in Boris Godunov and Commendatore in Don Giovanni. In the role as Gustavo in Faramondo he has been visiting the Lausanne Opera, the Opera de Vichy, the Théàtre du Champs Elysees and the Théàtre du Caen. Other roles has been Timur in Puccini’s Turandot at the Savonlinna Festival, Dulcamara at the Seoul Opera, contemporary opera The Tea at Teatro Carlo Fenice di Genova and Glendower in the opera Merlin at Kissinger Festspiele.

 

In 2001, he debuted at the Vienna State Opera, where he sang the roles of the Steuermann, Swallow in Benjamin Britten’s Peter Grimes, and the Geisterbote in Richard Strauss’ Die Frau ohne Schatten, as well as Sprecher, the Second Priest in The Magic Flute, Dulcamara, Don Fernando, Raimondo and Capulet, among others. Insung Sim has also debuted in the roles of Brétigny in Puccini’s Manon Lescaut, Klingsor and Roucher in Giordano’s Andrea Chénier.

 

He has also sung in CD productions of Parsifal and Tristan und Isolde for the Deutsche Grammophon label and the CD recording of Handel’s opera Faramondo for EMI/Virgin Classics and also Handel’s Alessandro where he performed the role of Clito. Other notable productions he took part of are the DVD of Ludovico/Otello at ROH with Papano, and Timur/Turnandot DVD in Torino with Noseda.

 

 

 

.