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Christopher Feigum has been praised for his dynamic stage presence and elegant musicianship with America’s leading opera companies and orchestras.  Critic John von Rhein in Opera Now praised his “mellifluously sung, elegantly acted Figaro . . . the quality of his voice and singing is matched by his amiably confident platform manner.”  This role served as the vehicle for his San Francisco Opera debut under the baton of  Roy Goodman; he also has sung the role with Opera Colorado and Tulsa Opera.  In the 2011/12 season, Mr. Feigum’s engagements include appearances with the Kentucky Opera as Danilo in their production of Merry Widow, and with the Kansas City Symphony performing Brahms’ Requiem.  He will also return to the Metropolitan Opera to cover the role of Prus in Janácek’s Makropulos Case.  Mr. Feigum’s 2010/11 season began with a great success in his role and house debuts at the New York City Opera, as Young Sam in Leonard Bernstien’s A Quiet Place, to great critical acclaim.  Other highlights of the season include a role debut with Tulsa Opera as the title role in Mozart&rsquo

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Christopher Feigum has been praised for his dynamic stage presence and elegant musicianship with America’s leading opera companies and orchestras.  Critic John von Rhein in Opera Now praised his “mellifluously sung, elegantly acted Figaro . . . the quality of his voice and singing is matched by his amiably confident platform manner.”  This role served as the vehicle for his San Francisco Opera debut under the baton of  Roy Goodman; he also has sung the role with Opera Colorado and Tulsa Opera.  In the 2011/12 season, Mr. Feigum’s engagements include appearances with the Kentucky Opera as Danilo in their production of Merry Widow, and with the Kansas City Symphony performing Brahms’ Requiem.  He will also return to the Metropolitan Opera to cover the role of Prus in Janácek’s Makropulos Case. 

Mr. Feigum’s 2010/11 season began with a great success in his role and house debuts at the New York City Opera, as Young Sam in Leonard Bernstien’s A Quiet Place, to great critical acclaim.  Other highlights of the season include a role debut with Tulsa Opera as the title role in Mozart’s Don Giovanni.  During the 2009/10 season, he joined the roster of the Metropolitan opera, covering the role of Kovalyov in the Metropolitan Opera Premiere of  Dmitri Shostakovich’s The Nose. Other exciting engagements included a reprisal of his signature role of Figaro in John Corigliano’s Ghosts of Versailles at the Wexford Opera Festival and his role debut as Escamillo in Carmen at Utah Opera.

In the 2008/09 Mr. Feigum returned to the Lyric Opera of Chicago to sing the roles of Lescaut in Manon and Silvio in Pagliacci.  He also appeared as Dr. Falke in Dallas Opera’s production of Die Fledermaus, as Zurga in Pearl Fischers  with the Seattle Opera, Belcore in L’Elisir D’Amore with Tulsa Opera, and in John Corigliano’s Ghosts of Versailles with the Opera Theater of Saint Louis.  He was also seen in concert with the Cleveland Orchestra under the baton of Franz Welser-Möst in Mozart’s Mass in C Minor.

In recent seasons he made his role debuts as Dr. Malatesta in Don Pasquale at Opera Colorado, conducted by Stephen Lord, as Lescaut in Puccini’s Manon Lescaut directed by Olivier Tambosi and conducted by Bruno Bartoletti, and as Mercutio in Romeo et Juliette at the Lyric Opera of Chicago.  He debuted at Seattle Opera as Dr. Falke in Die Fledermaus.  He performed Alidoro in La Cenerentola for both Dallas Opera and Kentucky Opera, where he also performed Marcello in La Boheme. Mr. Feigum made debuts with the New York Philharmonic, San Francisco Symphony, and Atlanta Symphony as Brander in La Damnation de Faust under Charles Dutoit. He made his debut at Los Angeles Opera under James Conlon as Reinmar in Tannhäuser.  He also sang the baritone solo in performances of Brahms’ Deutsches Requiem with the Colorado Symphony under Marin Alsop. 

Christopher Feigum has performed Haly in L’Italiana in Algeri and Guglielmo in Cosi fan tutte at Santa Fe Opera; Don Basilio in Il Barbiere di Siviglia at Opera Colorado, Opera Pacific and Madison Opera; Schaunard in La Boheme at Tulsa Opera; Falke at Sarasota Opera; Capulet in Romeo et Juliette at Madison Opera and Surin in Pique Dame at Dallas Opera. Concert appearances have included performances of Handel’s Messiah with the San Diego Symphony and the Colorado Symphony and Beethoven’s Missa Solemnis with the Madison Symphony Orchestra. 

Christopher Feigum is an alumnus of the Lyric Opera Center for American Artists.  Among other roles with the company, he has performed Samuel in Pirates of Penzance, the Bosun in a new David McVicar production of Billy Budd conducted by Sir Andrew Davis, Montano in a new Sir Peter Hall production of Otello and Carl Olsen in Street Scene.  He has also sung the Speaker in Die Zauberflöte, Surin and Angelotti in Tosca, and covered the role of J. Robert Oppenheimer in Doctor Atomic there.

Formerly a member of the Houston Grand Opera Studio, Mr. Feigum performed Figaro with the company as well as Zuniga in Carmen, Schaunard in La Bohème , the Speaker in Die Zauberflöte, Luther and Crespel in Les Contes d’Hoffmann and the Doctor in La Traviata.  He has also sung with Washington Opera.

In concert, Christopher Feigum has sung the Pfleger in Elektra with the Chicago Symphony Orchestra under Daniel Barenboim for his professional debut.  He performed Bartok’s Cantata Profana with the Grant Park Symphony Orchestra as well as excerpts from Le Nozze di Figaro there.  Other orchestral engagements include Bernstein’s Songfest with both the Milwaukee Symphony and the Chicago Sinfonietta, Brahms’ Liebeslieder Waltzes at the Ravinia Festival and Beethoven’s 9th Symphony with the Terre Haute Symphony.

Christopher Feigum is a graduate of DePaul University and a native of Denver.  He currently resides in Chicago with his wife.

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Reviews

"As his alter ego, Figaro, Christopher Feigum offered sure understanding and solid singing. He was hilarious in his turn as a Turkish hootchy-kootchy dancer."

St. Louis Post Dispatch

"Feigum was appealing and energetic"

Wall Street Journal

"Christopher Feigum's Malatesta was also a delight, as he engineered his sit-com shenanigans while singing with focus and power to spare."

Rocky Mountain News

"Christopher Feigum's charisma and seductively virile baritone made him a perfectly cast Mercutio…"

Opera News

"Suave and sure of himself and his well-rounded baritone voice, Christopher Feigum’s Falke was clearly in control of events."

John. F. Hulcoop, Opera News

"Suave and sure of himself and his well-rounded baritone voice, Christopher Feigum’s Falke was clearly in control of events."

John. F. Hulcoop, Opera News

"The Dr. Falke of Christopher Feigum was engaging."

Seattle Post-Intelligencer

"Christopher Feigum cut a fine comic figure as the sergeant Belcore, who is convinced that every woman in the world is fascinated with him. His introductory aria, "Come paride," was done with a grand swagger, and a bit of "break the fourth wall" staging that was nicely over-the-top — and perfectly in keeping with the character"

James Watts, Tulsa World

"The other principals are also effective. American baritone Christopher Feigum truly seems drunk most of the time as Manon's cousin Lescaut, a gambling-addicted lout who precipitates much of the tragedy and only encounters his own conscience in the sad final scene."

F.N. D'Alessio, Associated Press

"The attractive, evenly calibrated vibrato of Christopher Feigum’s baritone enhanced his roguish Lescaut."

Mark Thomas Ketterson, Opera News

"Lyric put together a strong supporting cast, from baritone Christopher Feigum's smarmy yet attractive Lescaut to bass-baritone Dale Travis' Geronte."

Wynne Delcoma, Chicago Sun-Times

"The key to the tragedy was Manon's smarmy brother, sung with distinction by American baritone Christopher Feigum."

Dorothy Andries, The Pioneer Press

"…baritone Christopher Feigum, oak-solid in the smaller role of Brander, bartender in that rowdy tavern."

Richard Scheinin, San Jose Mercury News

"Baritone Christopher Feigum sang with gusto as Brander."

Georgia Rowe, ContraCosta Times

"I was also impressed by the musicality, as well as the vocalism, of baritone Feigum. His was a brief role, done with excellent artistry."

Heuwell Tircuit, San Francisco Classical Voice,

"Baritone Christopher Feigum did well in the role of the Brander, offering a properly snarky ‘Song of the Rat’."

Pierre Ruhe, The Atlanta Journal-Constitution

"Christopher Feigum filled out the cast ably as Brander."

Robert S. Clark, The Hudson Review,

"Good-looking bass-baritone Christopher Feigum was a spirited Alidoro who brought visual piquancy to the production."

Maria Nockin, Opera Japonica

"Christopher Feigum was an ardent, romantic Guglielmo who gave a fine rendition of an ungrateful role."

Maria Nockin, Opera Japonica

"Christopher Feigum does splendid work as Figaro, imbuing the role with a spirited sense of determination…"

Chris Gibson, BroadwayWorld.com

"As Figaro, Feigum was a natural actor in both comic and shameful moments; he handled his English narration with natural ease and his Italian singing with power, authority and humor."

Andrew Patner, Chicago Sun-Times

"The quality of his voice and singing is matched by his amiably confident platform manner…a mellifluously sung, elegantly acted Figaro."

John von Rhein, Opera Now

"Christopher Feigum’s…portrayed the sleazy character [Don Basilio] with delicious vitality."

John W. Barker, Isthmus,

"A very funny Christopher Feigum as Don Basilio…"

Michael Muckian, The Capital Times

"Bass-baritone Christopher Feigum must relish those rich, low, low notes he fit to the “peccata mundi” of the “Agnus Dei.”"

John Aehl, The State Journal

"The…recitative and solo by baritone Christopher Feigum was a high point of the evening. Feigum has beautiful tone combined with clear diction and a confident stage presence. His voice filled the hall."

Matthew Balensuela, Tribune-Star

"Feigum reveled in his role…Nothing in his résumé suggests a born (again) evangelist, but he has the cadence, dynamism and physical gestures down pat; and he projects a spooky sort of commanding presence that’s perfect for this character."

Clarke Bustard, Richmond Times-Dispatch