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Constantine Kitsopoulos has made a name for himself as a conductor whose musical experiences comfortably span the worlds of opera and symphony, where he conducts in such venues as Carnegie Hall, Avery Fisher Hall and Royal Albert Hall, and musical theater, where he can be found leading orchestras on Broadway.  The 2016-17 season will mark his 7th  as Music Director of the Festival of the Arts BOCA, an extraordinary multi-day cultural arts event for South Florida. He was Artistic Director of the OK Mozart Festival, Oklahoma's premier music festival, from 2013-15. He also recently completed an eight-year tenure as Music Director of the Queens Symphony Orchestra. During the 2016-17 season, Kitsopoulos includes return engagements with the New Jersey Symphony, Baltimore Symphony, Vancouver Symphony, Detroit Symphony, Philadelphia Orchestra, Louisiana Philharmonic, Symphony Silicon Valley, and the Calgary Philharmonic. He will make debuts with the Pacific Symphony and Fort Worth Symphony. He will return to Indiana Opera Theatre to lead their production of “The Music Man” and returns to New York University to conduct three different programs with their orchestras.  In addition to his work as a conductor, Kitsopoulos will make his debut as a composer at

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Constantine Kitsopoulos has made a name for himself as a conductor whose musical experiences comfortably span the worlds of opera and symphony, where he conducts in such venues as Carnegie Hall, Avery Fisher Hall and Royal Albert Hall, and musical theater, where he can be found leading orchestras on Broadway.  The 2016-17 season will mark his 7th  as Music Director of the Festival of the Arts BOCA, an extraordinary multi-day cultural arts event for South Florida. He was Artistic Director of the OK Mozart Festival, Oklahoma's premier music festival, from 2013-15. He also recently completed an eight-year tenure as Music Director of the Queens Symphony Orchestra.

During the 2016-17 season, Kitsopoulos includes return engagements with the New Jersey Symphony, Baltimore Symphony, Vancouver Symphony, Detroit Symphony, Philadelphia Orchestra, Louisiana Philharmonic, Symphony Silicon Valley, and the Calgary Philharmonic. He will make debuts with the Pacific Symphony and Fort Worth Symphony. He will return to Indiana Opera Theatre to lead their production of “The Music Man” and returns to New York University to conduct three different programs with their orchestras.  In addition to his work as a conductor, Kitsopoulos will make his debut as a composer at Michigan State University with a workshop of a new music theatre piece entitled “Temple”.

Highlights of recent seasons include appearances with the New York Philharmonic; the Baltimore, Colorado, Detroit, Milwaukee, Pittsburgh, Toledo, San Antonio and San Francisco symphony orchestras; and the Calgary Philharmonic, National Arts Centre Orchestra and the New York Pops Orchestra at Carnegie Hall.  Summer concerts have included Saratoga Performing Arts Center with the Philadelphia Orchestra, Ravinia Festival, Blossom Festival with the Blossom Festival Orchestra, Sun Valley Festival, Atlanta Symphony and Dallas Symphony.  International appearances have seen him conduct China’s Macao Orchestra with Cuban band Tiempo Libre, Tokyo Philharmonic and the Russian National Orchestra.

Above and beyond his symphonic work, Constantine Kitsopoulos maintains a busy opera schedule.  In recent seasons, he has led annual productions at the Indiana University Opera Theater of  Menotti’s Last Savage (2014/2015), Rodgers and Hammerstein’s South Pacific (2014/2015), Gilbert & Sullivan’s H.M.S. Pinafore (2013/14), Verdi’s Falstaff (2012/13), Bolcom’s A View from the Bridge (2011/2012), Strauss’ Die Fledermaus (2010/11), and Loesser’s The Most Happy Fella. 

Also much in demand as a theater conductor, both on Broadway and nationwide, Kitsopoulos has been Music Director and Conductor of Rodgers and Hammerstein’s Cinderella on Broadway and ofThe Gershwin’s’ Porgy and Bess, the Tony-Award winning Broadway musical revival featuring Audra McDonald and Norm Lewis which ran until September 2012.  Prior to that, he was Conductor and Musical Director of the Tony-nominated musical A Catered Affair; the Tony-nominated musical Coram Boy; and the American Conservatory Theatre’s production of Kurt Weill’s Happy End, for which he recorded the cast album at Skywalker Ranch.  Other musical theater highlights include serving as Music Director and Principal Conductor of Baz Luhrmann’s highly acclaimed production of Puccini’s La Bohème.

Mr. Kitsopoulos studied conducting with Gustav Meier; Sergiu Comissiona; Semyon Bychkov; and his principal teacher, Vincent La Selva.

For more information, visit www.kitsopoulos.com.

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Reviews

"Constantine Kitsopoulos shapes the score with elastic and fleet assurance, and…is alert to the music’s kaleidoscopic textures."

The Cleveland Plain Dealer

"Conducted by Constantine Kitsopoulos, this ‘Happy End’ is a respectful effort that will, with any luck, introduce a new generation to a lyricist-composer team that represent one of the more marvelously challenging musical theater sensibilities ever to emerge."

Los Angeles Times

"Conductor Constantine Kitsopoulos effectively drew out the charm, atmosphere and ingenuity of the score, from the perfect songs by Harold Arlen to the music by Herbert Stothart and others that fills in the rest of the picture."

The Baltimore Sun

"The star of this lively version of Puccini’s opera, at least to a classical music lover, is the conductor, Constantine Kitsopoulos. The American maestro… seems to be channeling Arturo Toscanini a good portion of the time… he has picked up on the Italian conductor’s energy, not always audible in big opera houses."

The Oakland Tribune

"Kitsopoulos’ consistently “untempo” musical direction is the result of thought and preparation."

San Francisco Classical Voice

"It was a strings-only ensemble which performed to perfectly timed entrances and exits under the skillful hands of Constantine Kitsopoulos. Not a miscue anywhere."

The Examiner

"Kitsopoulos emphasized the practical and produced a clean and tidy sound. He opened the Manfred Overture by taming it: organizing its chaotic nature with a solid rhythmic foundation. The syncopations and metric twists were anchored by his clear and sharp beat patterns. Kitsopoulos had no problem moving the orchestra through tempo adjustments, and he effortlessly negotiated the work over the dangerous terrain in which it ends; in a disintegration of sound. Kitsopoulos worked well with the soloists… His musicality was always apparent."

The Hartford Courant