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29-year-old bass-baritone Shenyang was the winner of the 2007 BBC Cardiff Singer of the World competition, a 2008 winner of the Borletti-Buitoni Trust Award, and a 2010 winner of the Montblanc New Voices at Stars of the White Nights Festival.  He also has won First Prize at the International Opera Competition in Verona, the 2007 Verona Orfeo Singing Competition, and the 2005 Verona Don Giovanni Singing Competition. Born in Tianjin, China, Shenyang studied with Professor Ping Gu at the Shanghai Conservatory of Music. He is an alumnus of the Metropolitan Opera Lindemann Young Artist Development Program and of The Julliard School Opera Center. He has received master classes with James Levine, José Van Dam, John Fisher, Carlo Bergonzi, Renata Scotto, Sir Thomas Allen, Håkan Hagegård, Christa Ludwig, Barbara Bonney, Malcolm Martineau, Stephen Wadsworth, and Renée Fleming. As a student, Shenyang’s operatic performances included Masetto (Don Giovanni), Don Alfonso (Così fan tutte), Don Basilio (Il barbiere di Siviglia), and Caronte (L’Orfeo) in Verona, Shanghai, Tel Aviv, and Berlin.  In the leading roles of Fleishman's Rothschild's Violin and Mussorgsky’s The Marriage with James Conlon at the Juilliard Opera Center,

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29-year-old bass-baritone Shenyang was the winner of the 2007 BBC Cardiff Singer of the World competition, a 2008 winner of the Borletti-Buitoni Trust Award, and a 2010 winner of the Montblanc New Voices at Stars of the White Nights Festival.  He also has won First Prize at the International Opera Competition in Verona, the 2007 Verona Orfeo Singing Competition, and the 2005 Verona Don Giovanni Singing Competition. Born in Tianjin, China, Shenyang studied with Professor Ping Gu at the Shanghai Conservatory of Music. He is an alumnus of the Metropolitan Opera Lindemann Young Artist Development Program and of The Julliard School Opera Center. He has received master classes with James Levine, José Van Dam, John Fisher, Carlo Bergonzi, Renata Scotto, Sir Thomas Allen, Håkan Hagegård, Christa Ludwig, Barbara Bonney, Malcolm Martineau, Stephen Wadsworth, and Renée Fleming.

As a student, Shenyang’s operatic performances included Masetto (Don Giovanni), Don Alfonso (Così fan tutte), Don Basilio (Il barbiere di Siviglia), and Caronte (L’Orfeo) in Verona, Shanghai, Tel Aviv, and Berlin.  In the leading roles of Fleishman's Rothschild's Violin and Mussorgsky’s The Marriage with James Conlon at the Juilliard Opera Center, the New York Times heralded his performances as “impressive” and praised his “husky voice and deadpan demeanor.”

During the 2013-14 season Shenyang returns to the Metropolitan Opera for Julie Taymor’s beloved production of The Magic Flute, conducted by Jane Glover, and for La cenerentola under the baton of the Met’s Principal Conductor Fabio Luisi.  On the concert stage the artist joins Yannick Nézet-Séguin and the Philadelphia Orchestra, Alan Gilbert and the New York Philharmonic, and Gianluigi Gelmetti and the Monte-Carlo Philharmonic for Beethoven’s Ninth Symphony and, in a return engagement, he joins Michael Tilson Thomas and the San Francisco Symphony for Beethoven’s Mass in C.  Shenyang sings Verdi’s Requiem with the Huangzhou Philharmonic and, in his conducting debut, leads the Shanghai Philharmonic Orchestra in an orchestral program of Dvořák and Smetana.

The past season featured Shenyang’s role debut as Figaro in Mozart’s Le nozze di Figaro in a new production at the National Centre for the Performing Arts in Beijing and he returned to the Beijing Music Festival for Jing Xiang’s opera, Yuan Ye, conducted by Long Yu.  Shenyang gave the world premiere of the orchestral song cycle, Song of Farewell, written for him by composer Xiaogang Ye receiving performances in Beijing and at the Berliner Philharmonie with the China National Symphony Orchestra.  North American performances included Beethoven’s Ninth Symphony with Matthew Halls and the Toronto Symphony Orchestra as well as Beethoven’s Missa Solemnis with Michael Tilson Thomas leading the San Francisco Symphony Orchestra and Chorus.

Shenyang embodies a 21st century bridge between the cultures of East and West.  His celebration of the human voice was spotlighted as Artist in Residence of the Shanghai Symphony Orchestra in 2011-12 in numerous programs conducted by Long Yu with repertoire ranging from Bach and Mozart to Rachmaninov and Mahler.  He joined Daniel Harding and the China Philharmonic for selections from Mahler’s Des knaben Wunderhorn at the opening weekend of the Beijing Music Festival and was presented in solo recital at the Festival in a program of Schubert, Loewe, and Mahler.  Shenyang appeared with Helmuth Rilling and the International Bachakademie Stuttgart on a European tour of Bach’s Mass in b minor and returned to the stage of the Metropolitan Opera in a new production of Don Giovanni, directed by Michael Grandage and conducted by Sir Andrew Davis, and in Rodelinda directed by Stephen Wadsworth and conducted by Harry Bicket.  In the summer of 2012, Shenyang made his Glyndebourne Festival debut in a revival of the Sir Peter Hall production of La cenerentola and bowed for the first time, also as Alidoro, at the Bayerische Staatsoper.

Reflecting his emerging stature as a prominent musical and cultural figure in Asia and elsewhere, Shenyang is a Brand Ambassador for Montblanc in an exclusive relationship with the luxury product company.

Shenyang sang Rossini's Stabat Mater in 2007 with Sir Antonio Pappano and the Accademia Nazionale di Santa Cecilia Orchestra and was a featured soloist at the opening concert of the China National Grand Theatre in Beijing. Engagements of the 2008-09 season included a Metropolitan Opera debut as Masetto in Don Giovanni under the baton of Louis Langrée, performances of Haydn's Die Jahreszeiten with John Nelson at the National Centre for the Performing Arts in Beijing, solo Lieder recitals at BBC Hoddinott Hall in Cardiff, the Hong Kong Arts Festival, the Shanghai Grand Theatre, and in New York at Lincoln Center under the auspices of The Juilliard School, a Young Singers Concert with Ivor Bolton at the Salzburg Festival, and Brahms’ Liebeslieder Walzer with James Levine and Daniel Barenboim at Carnegie Hall.  Highlights of his 2009-10 season calendar included a New York Philharmonic debut with Messiah performances under the baton of Helmuth Rilling, the title role of Mendelssohn’s Elias in his Boston Symphony Orchestra debut with Rafael Frühbeck de Burgos (in Boston and at Carnegie Hall),  an arias concert conducted by Valery Gergiev at the White Nights Festival, and La bohème at the Metropolitan Opera.  During the 2010-11 season Shenyang was guest soloist on an international tour with Edo de Waart and the Hong Kong Philharmonic with performances of Beethoven’s Ninth Symphony and of excerpts from Mahler’s Des knaben Wunderhorn and he joined Helmuth Rilling and the Dallas Symphony Orchestra for Handel’s Messiah.  The artist appeared with the San Francisco Symphony Orchestra under the direction of Ragnar Bohlin for Bach’s Mass in b minor, the Cincinatti Symphony Orchestra and James Conlon for Mendelssohn’s Elias, and at Carnegie Hall in a concert performance of Mozart’s Zaïde with Ensemble ACJW conducted by David Robertson.  He also returned to the stage of the Metropolitan Opera to reprise his portrayal of Colline in La bohème conducted by Marco Armiliato.

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FOR FURTHER DETAILS PLEASE CONTACT: Bill Palant - Email: bpalant@imgartists.com

 

 

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Reviews

"As the faithless Garibaldo, bass-baritone Shenyang...is an important voice in the making, and he made a vocal flourish in Di Cupido a thing both mellifluous and simmering with treachery."

Marion Lignana Rosenberg, Classical Review

"Then there was Elijah's despondent aria, "It is enough," so beautifully felt by the 26-year-old Shenyang. Shenyang is clearly a star to watch, blessed with stunning vocal presence and a gift for communication. His Elijah was both magnanimous and tortured, and his voice remained fresh all evening."

Janelle Gelfand, Cincinnati.com

"Nor could I ever forget the singer Shenyang in his one aria. The second act may be a Singspiel though it often sounds like an opera seria. With a single exception. This is an aria so unreservedly hilarious that Rossini’s Figaro and Mozart’s Papageno would have envied it. Shenyang, as the slave Osmin, sings a strophic ditty about ein ganzer Narr–the perfect fool. I.e. the man who “whines, moans, screams, curses”. He is also a laughable fool, and bass-baritone Shenyang used all his full-bodied voice and delicious sense of humor to guffaw, giggle, bray and explosively stutter “h-h-h-h-haha” with prestissimo velocity. The Tianjin-born singer obviously has the chops for the heaviest repertory, but this song was an uncommon delight in an uncommonly delightful opera."

Henry Rolnick, ConcertoNet.com

"The ultimate standout among the vocal soloists was the Chinese bass-baritone Shenyang with a lyrical account of the expansive "Et in Spiritum Sanctum," marked by a blend of rhetorical directness and tenderness."

Joshua Kosman, San Francisco Chronicle

"The Chinese bass-baritone Shenyang was a vocally hardy and earnest, if somewhat stiff, Colline."

Anthony Tommasini, New York Times

"Shenyang completed the quartet as Colline, stepping forward in Act IV to deliver his little farewell to a shabby overcoat about to be pawned with just that extra measure of poignancy."

Peter G. Davis, MusicalAmerica.com