Photo credit Christian Steiner.

Photo credit Christian Steiner.

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BERG Wozzeck Act I “The Captain”

SINGIER “Le cochon” from Le chat perché

BACH “Und es waren viel weiber…” from St Matthew Passion

HANDEL “Shepherd, what art thou pursuing” from Acis & Galatea

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ZIPORYN A House in Bali – Excerpt, Act 2 Scene 2
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Possessed of a rare high-tenor voice and a winning stage persona that comfortably embraces both comedic and dramatic roles, Marc Molomot enjoys an international career in opera and on the concert stage.

Best known for appearances with the world’s leading early music ensembles and conductors, including William Christie, John Eliot Gardiner, Nicholas McGegan, Andrew Parrott, Apollo’s Fire, Les Boréades and Les Goûts Réunis, recently he has ventured beyond the Baroque, performing repertoire ranging from Mozart’s Le Nozze di Figaro and Auber’s 1830 opera Fra Diavolo to Der Hauptmann in Berg’s Wozzeck, and the title role in Benjamin Britten’s Albert Herring.

Mr. Molomot is praised as “an excellent actor-singer” in opera. His turn as the nurse Arnalta in Monteverdi’s L’incoronazione di Poppea — one of his signature roles — “brought down the house” (Opera News), was hailed as “scene-stealing” (Vancouver Sun), and “touching and hilarious” (Opera japonica). His comedic talents were showcased with performances as Adolphe de Valladolid in Offenbach’s opéra bouffe, Les brigands, at Opéra Toulon and Paris’s Opéra Comique, led by François-Xavier Roth. He was also featured as Le Fils in Poulenc’s opéra bouffe Les mamelles de Tirésias under the direction of Ludovic Morlot at Opéra de Lyon and in Paris at Opéra Comique. A 2012 production of Charpentier’s Orphée was “dominated by the wondrous high tenor of Marc Molomot.” The Chicago Tribune reviewer concluded that “it was hard to imagine French Baroque singing more beautifully or stylishly alive to music and text.” His premiere performance as the protagonist in Evan Ziporyn’s opera A House in Bali was considered “rapturously sung” (Wall Street Journal) and “powerful” (San Francisco Chronicle). After his debut as “Le Cochon” in Jean-Marc Singier’s Chat perché at Paris’ Amphithéâtre Bastille in 2011, Mr. Molomot reprised the role on a multi-city tour of France for Artis Diffusion. Other recent highlights include “Iro” in Boston Baroque’s production of Monteverdi’s Il Ritorno d’Ulisse; Rameau’s Pygmalion with On Site Opera; and a night of one-acts from Bard Music Festival with Mr. Molomot in the role of “Udolin” in Schubert’s Die Verschworenen, and the title role in von Suppé’s Franz Schubert.

Known for his heartfelt portrayal of the Evangelist in Bach’s Passions with New York Collegium, Mr. Molomot’s exploration of the role continued with St. John Passions with Mr. Parrott in Kraków and Tel Aviv; a St. Matthew in Trondheim, Norway’s historic Nidaros Cathedral, and a St. John Passion with John Nelson and Soli Deo Gloria in Chicago. 2014 includes a St. John Passion with Berkshire Choral Festival and a St. Matthew Passion at King’s College, Halifax. Also much in demand as tenor soloist in Orff’s Carmina Burana after his Houston and Kansas City debuts, he has reprised the role with Pacific and Omaha Symphonies.

Mr. Molomot’s recordings include the Grammy Award–nominated Lully’s Thésée with the Boston Early Music Festival; Charpentier’s Judicium Salomonis with Les Arts Florissants, conducted by William Christie; Handel’s Acis and Galatea with Les Boréades conducted by Eric Milnes; and Monteverdi’s L’Orfeo with Apollo’s Fire led by Jeannette Sorrel.

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