ZIPORYN A House in Bali – Excerpt, Act 2 Scene 2
SINGIER Chat perché “Le cochon”
RAMEAU Pygmalion “Pygmalion”
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. Originally known for appearances with the world’s leading early music ensembles, and conductors including William Christie, John Eliot Gardiner, Nicholas McGegan, and Andrew Parrott, Mr. Molomot is now praised as “an excellent actor-singer” in repertoire of all eras.
Highlights of Mr. Molomot’s 2016/17 season include the roles of “Pisandro” and “Giove” in Monteverdi’s Il ritorno d’Ulisse in patria with The Grange Festival (UK), Beethoven’s Symphony No. 9 with the Mobile Symphony Orchestra, his return to the Bard Music Festival for the role of “Truffaldino” in Busoni’s Turandot, the Berkshire Choral Festival, and a program of Monteverdi and Purcell with Four Nations Ensemble.
His frequent ventures beyond the Baroque repertoire most recently included 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 (both available on iTunes). His comedic talents were showcased with performances as Adolphe de Valladolid in Offenbach’s Les brigands, at Opéra Toulon and Paris’s Opéra Comique, led by François-Xavier Roth, and he was featured as Le Fils in Poulenc’s Les mamelles de Tirésias under the direction of Ludovic Morlot at Opéra de Lyon and in Paris at Opéra Comique. His repertoire also includes Mozart’s Le Nozze di Figaro and Auber’s 1830 opera Fra Diavolo.
Among baroque roles, his signature turn as the nurse Arnalta in Monteverdi’s L’incoronazione di Poppea “brought down the house” (Opera News), was hailed as “scene-stealing” (Vancouver Sun), and “touching and hilarious” (Opera japonica). 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.” Other recent highlights include “Iro” in Boston Baroque’s production of Monteverdi’s Il Ritorno d’Ulisse (recorded on Linn Records), Rameau’s Pygmalion with On Site Opera, and Messiah performances with the Nashville Symphony and Grand Philharmonic Choir in Ontario.
Mr. Molomot has a gift for more contemporary fare as well, including Der Hauptmann in Berg’s Wozzeck, and the title role in Benjamin Britten’s Albert Herring. 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). He also created the role of “Le Cochon” in Jean-Marc Singier’s acclaimed Chat perché at Paris’ Amphithéâtre Bastille in 2011, and recently reprised the role on a multi-city tour of France.
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. Recent concert appearances include a St. John Passion with Berkshire Choral Festival, a St. Matthew Passion at King’s College, Halifax, and a Mozart Coronation Mass at Alice Tully Hall with American Classical Orchestra. Also increasingly in demand as tenor soloist in Orff’s Carmina Burana after his Houston debut, he has reprised the role with the Kansas City, Pacific and Omaha Symphonies.
In addition to the Schubert and Monteverdi, 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.