DATES.2019-2020
» Bizet: Carmen
Remendado Staatsoper Stuttgart Sept. 29 | Oct. 12, 19, 25, 29 | Nov. 2, 6, 9 » Verdi: Don Carlos Le comte de Lerme Staatsoper Stuttgart Oct. 27 | Nov. 1, 3, 8, 10 (Mar. 15, 21, 26 and Apr. 18 cancelled) New Production » Prokofiev: Die Liebe zu den drei Orangen Der Zeremonienmeister Staatsoper Stuttgart Nov. 7, 15, 27, 30 | Dec. 5, 13 » Mozart: Der Schauspieldirektor Herr Herz Staatsoper Stuttgart Nov. 29 | Dec. 1 » Mozart: Le nozze di Figaro Don Curzio Staatsoper Stuttgart Dec. 1, 4, 6, 19, 21 New Production » Mozart: La clemenza di Tito Tito Vespasian Vorarlberger Landestheater Jan. 31 | Feb. 2, 7, 9, 11, 13, 15, 17, 19, 21 New Production » Weill: Die sieben Todsünden Der Bruder Staatsoper, Ballet, & Schauspiel Stuttgart Mar. 7 (Mar. 17, 20 and 22 cancelled) » Boito: Mefistofele Wagner/Nereo Staatsoper Stuttgart Apr. 9, 17, 20, 23, 25 (All performances cancelled) » Britten: Death in Venice Glass-maker/Street singer Staatsoper Stuttgart May 9, 15, 17, 23, 26, 30 (All performances cancelled) » Mozart: Die Zauberflöte Zweiter Priester Staatsoper Stuttgart May 12, 15 | June 1, 9, 13, 20, 22, 29 (All performances cancelled) » Purcell: Artus, a new pastiche Osmond Staatsoper Stuttgart, Junge Oper im Nord Jun. 13, 18, 20, 22, 23, 25 | Jul. 11, 15, 16, 18, 21, 22 (All performances cancelled) New Production » Parcours: Wir sind aus solchem Stoff wie Träume sind Jun. 8 Staatsoper Stuttgart |
NEWS.2019-2020
» La clemenza di Tito, Bregenz 2020
“It is a true celebration of the voice in this absolutely type-appropriate casting with American tenor Christopher Sokolowski as the credulous title role, caught up in his own doubts, soaring in the course of the evening to a wonderful, coloratura-clad aria.” —Fritz Jurmann, Kultur Zeitschrift “The Tito of American tenor Christopher Sokolowski is young, and his voice bright and agile.” —Anna Mika, Musik und Mehr » Le nozze di Figaro, Stuttgart 2019
“Christopher Sokolowksi possessed a more powerful tenor voice than one is accustomed to in the small role of Don Curzio.” —Ludwig Steinbach, Der Opernfreund » Don Carlos, Stuttgart 2019
“Christopher Sokolowksi captivates as an outstanding Count of Lerma.” —Alexander Walther, Online Merker “Christopher Sokolowski solidly performed the roles of the Count of Lerma and the King’s Herald.” —Ludwig Steinbach, Der Opernfreund 2018-2019
» Mefistofele, Stuttgart 2019
“Christopher Sokolowski sang Wagner and Nereo with his refined tenor voice.” —Frieden Rosén, Online Merker “Solidly Christopher Sokolowski sang Wagner and Nereo.” --Ludwig Steinbach, Der Opernfreund » In Recital, Friedrichshafen 2018
“With clear declamation of the text and strong top notes, Christopher Sokolowski presented 'Heimliche Aufforderung' by Richard Strauss.” —Gerd Kurat, Schwäbische Zeitung 2017-2018
» Four Nights of Dream, New York City 2017
“Christopher Sokolowski, in the father’s measured plod around the auditorium, sang with solid, attractive tone.” —James R. Oestreich, The New York Times “The entire cast was impeccable: [...] tenor Christopher Sokolowski as Ken-san and, particularly, the Father in Scene 3.” —Richard Sasanow, Broadway World |
BIOGRAPHY.
American tenor Christopher Sokolowski has performed a wide repertoire of concert and operatic works for international audiences, from the early baroque to world premieres, and has been recognized by the New York Times for his “solid, attractive tone.” He will make his debut as the title role of Mozart’s La clemenza di Tito in Bregenz in 2020 under the baton of Karsten Januschke.
The 2019–’20 season brings many productions at the Staatsoper Stuttgart where Christopher is currently engaged in their International Opera Studio. He will make debuts in roles including Remendado in Bizet’s Carmen conducted by Kristiina Polska, the Glassmaker/Street Singer in Britten’s Death in Venice conducted by Bas Wiegers, the Second Priest in Mozart’s Die Zauberflöte conducted by Cornelius Meister, Le comte de Lerme in a new production of Verdi’s Don Carlos directed by Lotte de Beer and conducted by Cornelius Meister, as well as Don Curzio in a new production of Mozart’s Le nozze di Figaro directed by Christiane Pohle and conducted by Roland Kluttig. He will additionally return to roles including Wagner/Nerèo in Boito’s Mefistofele and the brother in the acclaimed production of Weill’s Die sieben Todsünden staring the controversial “Pop-Provokateurin” Peaches. Christopher will also create the role of Osmond in the new pastiche Artus based on the story and music of Purcell’s King Arthur with the Staatsoper’s Junge Oper im Nord.
In the 2018–’19 season, Christopher was selected as the new tenor for the Staatsoper Stuttgart’s International Opera Studio. This season with the company he made debuts of many roles such as Wagner/Nerèo in critically celebrated new productions of Boito’s Mefistofele directed by Alex Ollé/La Fura dels Baus and conducted by Daniele Callegari, the Zeremonienmeister in Prokofiev’s Die Liebe zu den Drei Orangen directed by Axel Ranisch and conducted by Alejo Pérez, and the brother in Kurt Weill’s Die sieben Todsünden directed by Anna-Sophie Mahler; as well as roles in repertory productions of Ariodante, Pique Dame, and Der Schauspieldirektor.
The years prior to his engagement with the Staatsoper Stuttgart, Christopher enjoyed an international schedule of concert and operatic work, bringing him to New York City for concerts featuring the cantatas of Bach conducted by Ken-David Masur with the Chelsea Music Festival, to the Netherlands for performances of Franck’s Seven Words of Christ with the Haarlems Gemengd Koor, the American and Asian premieres of Moto Osada’s Four Nights of Dream at the Japan Society in New York City and at the Tokyo Bunka Kaikan to the praise of the New York Times, and to Greece for the documenta14 festival’s presentation of O+A’s Requiem for fossil fuels. The 2016-’17 season brought the premieres of three new works: Laura Schwendinger’s Artemisia for the Times Arrow Festival with Trinity Wall Street, Andrew Seligson’s Memory with the Metamorphosis Chamber Orchestra, and John Myers’ Paintings in Song with the Crescendo Ensemble of Great Barrington; as well as performances of Handel’s Dettingen Te Deum and Alexander’s Feast with Concerts in the Village of Kinderhook; and the Father in Kurt Weill’s Die sieben Todsünden at the prestigious Tanglewood Music Center.
A graduate of Indiana University's Jacobs School of Music and the SUNY Purchase Conservatory, Christopher performed roles including the title role in Handel’s Acis and Galatea and Oronte in Handel's Alcina, the world premiere of P. Q. Phan's Tale of Lady Thi Kinh, Alfred in J. Strauss II’s Die Fledermaus, and the husband in Poulenc’s Les mamelles de Tirésias. He was the tenor soloist in Handel's Esther, Haydn's Missa in Tempore Belli, and Britten's War Requiem with the IU Philharmonic Orchestra conducted by Michael Palmer. Frequently in demand for the performance of new music, Christopher also took part in many premieres and concerts dedicated to new music while at IU, including the premiere of P. Q. Phan’s Vietnamese Requiem and the premiere of Raphaël Lucas’ Six Songs on poems by Federico García Lorca, which was broadcast on France Musique. While a student, Christopher enjoyed many additional performances across the country: Mendelssohn's Elijah, Handel's Messiah, Mozart's Requiem, Orff's Carmina Burana, Vivaldi's Dixit Dominus, the Magnificats of J.C. Bach, J.S. Bach, and Vivaldi; and additionally creating the role of Antinous in the workshop premiere of Clint Borzoni’s Antinous and Hadrian in New York City.
The 2019–’20 season brings many productions at the Staatsoper Stuttgart where Christopher is currently engaged in their International Opera Studio. He will make debuts in roles including Remendado in Bizet’s Carmen conducted by Kristiina Polska, the Glassmaker/Street Singer in Britten’s Death in Venice conducted by Bas Wiegers, the Second Priest in Mozart’s Die Zauberflöte conducted by Cornelius Meister, Le comte de Lerme in a new production of Verdi’s Don Carlos directed by Lotte de Beer and conducted by Cornelius Meister, as well as Don Curzio in a new production of Mozart’s Le nozze di Figaro directed by Christiane Pohle and conducted by Roland Kluttig. He will additionally return to roles including Wagner/Nerèo in Boito’s Mefistofele and the brother in the acclaimed production of Weill’s Die sieben Todsünden staring the controversial “Pop-Provokateurin” Peaches. Christopher will also create the role of Osmond in the new pastiche Artus based on the story and music of Purcell’s King Arthur with the Staatsoper’s Junge Oper im Nord.
In the 2018–’19 season, Christopher was selected as the new tenor for the Staatsoper Stuttgart’s International Opera Studio. This season with the company he made debuts of many roles such as Wagner/Nerèo in critically celebrated new productions of Boito’s Mefistofele directed by Alex Ollé/La Fura dels Baus and conducted by Daniele Callegari, the Zeremonienmeister in Prokofiev’s Die Liebe zu den Drei Orangen directed by Axel Ranisch and conducted by Alejo Pérez, and the brother in Kurt Weill’s Die sieben Todsünden directed by Anna-Sophie Mahler; as well as roles in repertory productions of Ariodante, Pique Dame, and Der Schauspieldirektor.
The years prior to his engagement with the Staatsoper Stuttgart, Christopher enjoyed an international schedule of concert and operatic work, bringing him to New York City for concerts featuring the cantatas of Bach conducted by Ken-David Masur with the Chelsea Music Festival, to the Netherlands for performances of Franck’s Seven Words of Christ with the Haarlems Gemengd Koor, the American and Asian premieres of Moto Osada’s Four Nights of Dream at the Japan Society in New York City and at the Tokyo Bunka Kaikan to the praise of the New York Times, and to Greece for the documenta14 festival’s presentation of O+A’s Requiem for fossil fuels. The 2016-’17 season brought the premieres of three new works: Laura Schwendinger’s Artemisia for the Times Arrow Festival with Trinity Wall Street, Andrew Seligson’s Memory with the Metamorphosis Chamber Orchestra, and John Myers’ Paintings in Song with the Crescendo Ensemble of Great Barrington; as well as performances of Handel’s Dettingen Te Deum and Alexander’s Feast with Concerts in the Village of Kinderhook; and the Father in Kurt Weill’s Die sieben Todsünden at the prestigious Tanglewood Music Center.
A graduate of Indiana University's Jacobs School of Music and the SUNY Purchase Conservatory, Christopher performed roles including the title role in Handel’s Acis and Galatea and Oronte in Handel's Alcina, the world premiere of P. Q. Phan's Tale of Lady Thi Kinh, Alfred in J. Strauss II’s Die Fledermaus, and the husband in Poulenc’s Les mamelles de Tirésias. He was the tenor soloist in Handel's Esther, Haydn's Missa in Tempore Belli, and Britten's War Requiem with the IU Philharmonic Orchestra conducted by Michael Palmer. Frequently in demand for the performance of new music, Christopher also took part in many premieres and concerts dedicated to new music while at IU, including the premiere of P. Q. Phan’s Vietnamese Requiem and the premiere of Raphaël Lucas’ Six Songs on poems by Federico García Lorca, which was broadcast on France Musique. While a student, Christopher enjoyed many additional performances across the country: Mendelssohn's Elijah, Handel's Messiah, Mozart's Requiem, Orff's Carmina Burana, Vivaldi's Dixit Dominus, the Magnificats of J.C. Bach, J.S. Bach, and Vivaldi; and additionally creating the role of Antinous in the workshop premiere of Clint Borzoni’s Antinous and Hadrian in New York City.
REPERTOIRE.
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ON STAGE
BIZET | Remendado Carmen
BOITO | Wagner, Nereo Mefistofele BRITTEN | Novice, Billy Budd (upcoming) BORZONI | Antinous Antinous and Hadrian HANDEL | Acis Acis and Galatea | Oronte Alcina | Odoardo Ariodante MOZART | Tito La clemenza di Tito | Tamino Die Zauberflöte | Don Ottavio* Don Giovanni | Vogelsang Der Schauspieldirektor OSADA | Ken-San, Father Four Nights of Dream PHAN | Thiện Sĩ The Tale of Lady Thị Kính POULENC | Le Mari Les mamelles de Tirésias PROKOFIEV | Der Zeremonienmeister Die Liebe zu den drei Orangen SCHWENDINGER | The Oculist Artemisia SONDHEIM | Henrik Egerman A Little Night Music J. STRAUSS II | Alfred Die Fledermaus TCHAIKOVSKY | Tchaplitsky Pikovaya Dama WEILL | Father, Brother Die sieben Todsünden * cover Roles studied:
BEETHOVEN | Jaquino Fidelio BERNSTEIN | Candide Candide DEBUSSY | Pelléas Pelléas et Mélisande DONIZETTI | Arturo Lucia di Lammermoor HANDEL | Emilio Partenope | Lurcanio Ariodante | Tempo Il trionfo del tempo e del disinganno MONTEVERDI | Orfeo L'Orfeo MOZART | Belmonte, Pedrillo Die Entführung aus dem Serail STRAVINSKY | Tom Rakewell The Rake's Progress TCHAIKOVSKY | Lensky Yevgény Onégin |
IN CONCERT
J.C. BACH | Magnificat, W E22
J.S. BACH | Magnificat, BWV 243 | Cantatas 17, 20, 33, 61, 70, 75, 102, 116, 127, 159, 211 BRITTEN | War Requiem | Serenade for Tenor, Horn and Strings | Still falls the Rain, Canticle III CALDARA | Stabat mater DIORIO | Stravinsky Refracted FRANCK | Seven Last Words of Christ on the Cross HANDEL | Messiah | Esther | Alexander’s Feast | Dettingen Te Deum | Ode for the birthday of Queen Anne | Look down, harmonious Saint HAYDN | Missa in tempore belli KODÁLY | Missa brevis MENDELSSOHN | Elijah MOZART | Requiem, K. 626 O+A | Requiem for fossil fuels ORFF | Carmina Burana PHAN | Vietnamese Requiem PURCELL | Ode to St. Cecilia | Welcome to all the pleasures | Why are all the Muses mute? TELEMANN | Der Tag des Gerichts VAUGHAN WILLIAMS | On Wenlock Edge VIVALDI | Magnificat | Gloria, RV 588 | Dixit Dominus, RV 594 | Canta in Prato, RV 636 | Kyrie, RV 857 VON WEBER | Missa Sancta No. 2 Jubelmesse |
MEDIA.
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VIDEO & AUDIO
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PHOTO
ON STAGE
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SAY HELLO.Contact Christopher directly with the form or information provided.
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© 2020 Christopher Sokolowski. All rights reserved.
All photographs © their prospective owners. (From top to bottom: Matthias Baus (headshot), Anja Köhler (La clemenza di Tito, Bregenz), Thomas Aurin (Mefistofele, Staatsoper Stuttgart), Matthias Baus (Don Carlos, Staatsoper Stuttgart), IU Opera Theater (Britten's War Requiem, Indiana University)
All photographs © their prospective owners. (From top to bottom: Matthias Baus (headshot), Anja Köhler (La clemenza di Tito, Bregenz), Thomas Aurin (Mefistofele, Staatsoper Stuttgart), Matthias Baus (Don Carlos, Staatsoper Stuttgart), IU Opera Theater (Britten's War Requiem, Indiana University)