Marc Molomot
Tenor
“Marc Molomot is a hugely charismatic Arthur. A superb actor, he is as much Jimmy Durante as a Trump wannabe, capable of winning our affections with a depth of expression once he begins to sing.”
SINGIER Chat perché “Le cochon”
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. Read more in biography below.
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SINGIER Chat perché “Le cochon”
Schubert’s Winterreise
RAMEAU Pygmalion “Pygmalion”
Biography
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 and was recently named “Artist of the Year” by Voix des Arts. 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.
His frequent ventures beyond the Baroque repertoire most recently included his acclaimed performance in the world premiere of Tobias Picker’s Awakenings, in which Molomot created the role of Leonard Lev. Other recent highlights include his role debut as “Mime” in Wagner’s Das Rheingold in Germany, Busoni’s Turandot in the role of “Truffaldino” with Bard Music Festival, “John Adams” in Virgil Thomson’s The Mother of us All at Hudson Hall (a New York Times Best Classical Music Performance of 2017), Berg’s Wozzeck with the Houston Symphony in the role of “Der Hauptmann”, 1st Jew in Salome at Bard Music Festival and Tulsa Opera, and recitals of Schubert’s Die Schöne Müllerin at Untermeyer Gardens and Saint Andrew Music Society. The live recording of this performance was the winner of a GRAMMY Award and an ECHO Klassik Award, both for Best Opera Recording. He has also taken part in 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. His comedic talents have been 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.
In the baroque arena, he is particularly in demand for Purcell. January 2020 saw him in the title role of Purcell’s King Arthur for Long Beach Opera,of which the Los Angeles Times called him “a hugely charismatic Arthur. A superb actor… capable of winning our affections with a depth of expression once he begins to sing.” He was similarly acclaimed for his previous Purcell performance in Long Beach, as Puck in Purcell’s Fairy Queen, a co-production with Chicago Opera Theatre, and as “Sailor” in Dido and Aeneas with Angel’s Share in New York City. “Arnalta” in Monteverdi’s L'incoronazione di Poppea is a signature role, most recently performed with Florentine Opera. A production of Charpentier’s Orphée at Haymarket Opera 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 and nominated for a GRAMMY), and the title role in Rameau’s Pygmalion with On Site Opera.
Mr. Molomot has a gift for more contemporary fare as well. 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 and on a multi-city tour of France.
In concert, recent engagements include Britten’s Serenade with Omaha Symphony and Britten’s St. Nicholas Cantata with Berkshire Chorale International, Beethoven’s Symphony No. 9 with Mobile Symphony Orchestra and Nashville Symphony, Bach’s Magnificat with Israel Camerata Jerusalem, Messiah with Rhode Island Philharmonic, Milwaukee Symphony, and Symphony Nova Scotia, and Mozart Coronation Mass at Alice Tully Hall with American Classical Orchestra. Increasingly in demand as tenor soloist in Orff’s Carmina Burana, after his role debut with the Houston Symphony, he has reprised it with the Kansas City, Pacific and Omaha Symphonies.
Known for his heartfelt portrayal of the Evangelist in Bach’s Passions, Mr. Molomot has explored the role in performances worldwide under the batons of conductors including Andrew Parrott and John Nelson. Recent concert appearances include a St. John Passion with Berkshire Choral Festival, and a St. Matthew Passion at King’s College, Halifax.
Mr. Molomot’s recordings include the GRAMMY Award-winning release of Berg’s Wozzeck with the Houston Symphony; GRAMMY Award–nominated Lully’s Thésée with the Boston Early Music Festival; GRAMMY Award-nominated Il Ritorno di Ulisse on Linn Records with Boston Baroque; 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.