Photo credit Christian Steiner.

Photo credit Christian Steiner.

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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. While his voice type, known as haute-contre, is most closely associated with the French Baroque, the tenor, born and trained in the United States, is increasingly exploring more varied repertoire.

Best known for his 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, in recent years he has ventured far beyond the Baroque, performing repertoire from Mozart’s Le Nozze di Figaro and Auber’s 1830 opera Fra Diavolo to the title role in Benjamin Britten’s Albert Herring. In 2013 he made his role debut as the Der Hauptmann in Berg’s Wozzeck in a concert version conducted by Hans Graf at the Houston Symphony. His premiere performance as the protagonist in Evan Ziporyn’s 2009 opera A House in Bali was “rapturously sung” (Wall Street Journal) and “powerful” (San Francisco Chronicle). He also created another new role in Jean-Marc Singier’s Chat perché, which debuted in March 2011 at Amphithéâtre Bastille in Paris, and continues to enjoy widespread success, including a multi-city, two-month tour in France in early 2014.

Marc is a self-described natural comedian on stage. His turn as the nurse Arnalta in Monteverdi’s L’incoronazione di Poppea — one of his signature roles — “brought down the house” (Opera News), and was hailed as “scene-stealing” (Vancouver Sun), and “touching and hilarious” (Opera japonica). His comedic talents were showcased in 2011 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. Recently he was also featured as Le Fils in Poulenc’s fanciful opéra bouffe Les mamelles de Tirésias under the direction of Ludovic Morlot at Opéra de Lyon and in Paris at Opéra Comique.

Marc is widely praised as “an excellent actor-singer” in opera. A recent production of Charpentier’s Orphée in Chicago 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.” In the coming season he will sing “Iro” in Monteverdi’s Il Ritorno d’Ulisse for Boston Baroque.

Mr. Molomot brings the same thoughtful commitment to character and storytelling to the concert stage. Notable performances include Orff’s Carmina Burana in his Houston Symphony, Kansas City Symphony, and Omaha Symphony debuts and the U.S. premiere of Dov Seltzer’s Lament to Yitzhak with the New York Philharmonic. His frequent concerts with conductor Hans Graf will next take him to Milwaukee in autumn 2013, for performances of Schubert’s Mass No. 6.

Having made his debut as the Evangelist in Bach’s St. Matthew Passion with New York Collegium, he is becoming widely known for his heartfelt portrayal of the role. His recent performances include the 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.

He continues to appear worldwide with leading early music ensembles, including the Green Mountain Project in New York City in Monteverdi’s Vespers of 1610; Rameau’s Castor et Pollux and Campra’s Requiem at the BBC Proms in London and Salle Pleyel in Paris, led by John Eliot Gardiner; concerts at the Chapelle Royale de Versailles, London’s Barbican Centre, and a tour of South America with William Christie and Les Arts Florissants; Lully’s Le Carnival masquerade with Paul Odette; Monteverdi’s Vespers and Haydn’s Creation with Andrew Parrott, and performances of Handel’s Messiah at St. Thomas Church in New York and with Portland Baroque, where, one reviewer wrote, he “brought Callas-inspired drama to his part” (The Oregonian).

Marc’s recording of Lully’s Thésée with the Boston Early Music Festival was nominated for a Grammy Award. He is also featured on recordings of 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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