Hailed for “stealing the evening” (The Washington Post) and being “ideally cast as the assassin Sparafucile, emerging from the shadows with his seething bass-baritone,” French-American bass Christian Zaremba is equally at home under the lights of an operaticdrama and on the concert stage.
During the 2019-2020 season, Mr. Zaremba appears in Barry Kosky’s production of Agrippina at the Royal Opera House, Covent Garden, before returning to the Metropolitan Opera as Lesbo in an HD Broadcast of Sir David McVicar’s acclaimed production of the same opera. Mr. Zaremba also returns to the Lyric Opera of Kansas City as Colline in La bohème and makes company debuts with L’Opéra de Montréal as Sarastro in Die Zauberflöte and at Nashville Opera as Sparafucile in Rigoletto. In concert, he performs Mussorgki’s Russian song cycle, Songs and dances of Death, with the Greenwich Village Orchestra.Read more
Last season saw Mr. Zaremba at the Metropolitan Opera in productions of Tosca and Gianni Schicchi, before he returned to Austin Opera as the French General in Kevin Puts’ Silent Night. Hethen made debuts with The Lyric Opera of Kansas City as Nouribad in Les pêcheurs des perles and at Opera Theatre of St. Louis as Sparafucile.
Upcoming seasons will see Mr. Zaremba join the roster of Opera Philadelphia for the much-anticipated world premiere of Jennifer Higdon’s Woman with Eyes Closed, the Metropolitan Opera for its production of Giulio Cesare, and Austin Opera for his role debut in the title role of Le nozze di Figaro.
Recent career highlights include Il Re in Aïda with the National Symphony Orchestra, Collatinus in The Rape of Lucretia, Passagallo in L’Opera Seria, and Dr. Bartolo in Le nozze di Figaro with Wolf Trap Opera, Colline in La bohème with Portland Opera and Opera Omaha, Sarastro in Die Zauberflöte and Ashby in La fanciulla del West with Minnesota Opera, and the Bass soloist in staged productions of David Lang’s The Little Match Girl Passion with the Glimmerglass Festival and Portland Opera. Mr. Zaremba was also featured in the December 2017 issue of Opera News’ spotlight on rising talent as a “Sound Bite.”
“Stealing the evening, though, was Christian Zaremba as the dancing master, Passagallo. Zaremba already stood out this summer, vocally and dramatically, as Collatinus, the husband in the stark, tragic “The Rape of Lucretia.” For “L’Opera Seria,” he donned bandana, sweats, leg warmers and a dancer’s floating gait, and, dragging nervously on a cigarette, fussed over every detail of the performance and came up with artistic “inspirations,”… Zaremba has the comedian’s gift of playing his role absolutely seriously, and he sings well to boot. I found myself wishing Wolf Trap would make Passagallo a recurring character, like Borat, appearing on the sidelines of every future opera performance with earnest suggestions and an occasional pirouette.”
“He sang magnificently and his youthful energy never strained the credibility of the scene.”
“Commissioner Kenesaw “Mountain” Landis who’s portrayed by bass Christian Zaremba as a thundering Old testament figure in flowing judicial robes.” – Opera News
“Also winning was Christian Zaremba, a stage animal with a big bass voice, as Pistola.” – Anthony Tommasini, The New York Times
“Christian Zaremba is gracefully menacing as Sparafucile, the hired assassin. On his exit at the end of one scene he holds an almost sub-sonic bass note practically forever.” – Broadway World