Christopher Feigum

Baritone

Biography

Christopher Feigum has been praised for his dynamic stage presence and elegant musicianship with America’s leading opera companies and orchestras.  Critic John von Rhien in the Chicago Tribune 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 in a John Copley production under the baton of Roy Goodman; He also has sung the role with Opera Colorado, St. Louis Opera Theater, Houston Grand Opera and Tulsa Opera.

Mr. Feigum’s recent work includes performances as First Officer in John Adam’s controversial work The Death of Klinghoffer at the Metropolitan Opera, Brander with the Cleveland Orchestra in La Damnation de Faust with Maestro Charles Dutoit and performances of Strauss’ Daphne as the First Shepard with Maestro Franz Welser-Möst in Cleveland.  Additionally, Mr. Feigum made his debut with the Lincoln Center Festival in New York to reprise the role of First Shepard in Daphne with Maestro Welser-Möst and the Cleveland Orchestra.

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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

More 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