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Lawrence Brownlee
has proven himself to be one of the most prominent bel canto tenors on the international scene. He is lauded continually for the beauty of his voice, his seemingly effortless technical agility, and his dynamic and engaging dramatic skills.

His schedule regularly comprises a varied array of debuts and return engagements at renowned music centers for appearances with the world’s pre-eminent opera companies, orchestras and presenting organizations.

Mr. Brownlee’s 2009-10 season finds him continuing to mine the riches of the early nineteenth century repertoire, both familiar and unusual. He adds two new roles, both of which fall firmly among the rarities: one each by Rossini and the nearly-forgotten Giovanni Simone Mayr. His calendar begins with what has become his calling-card role, Conte Almaviva in Il barbiere di Siviglia, marking both the season-opener of the Washington National Opera and the tenor’s first appearance with the Company. He sings with Switzerland’s Theater St. Gallen for the first time in the seldom-heard Mayr work, Medea in Corinto, as the Greek king Egeo. Next is another company debut at Berlin’s Deutsche Oper, again as Almaviva, in a new production of Barbiere. He also sings the role with the city’s other major company, the Deutsche Staatsoper. While in Berlin he takes part in an all-star Gala concert benefitting the German AIDS Foundation.

At the start of the new year he sings Carmina Burana with the Cincinnati Symphony and performs a duo-concert with soprano Eglise Gutiérrez in San Juan for CulturArte de Puerto Rico. The Metropolitan Opera figures prominently during the season as the tenor is featured in two highly contrasting Rossini works: a revival of Barbiere, which served as his 2007 entry into the Company, and as Rinaldo in the Met’s first production of Armida, in which Mr. Brownlee shares the stage with Renée Fleming.

He also fills in for an ill Met-colleague in one performance of La fille du régiment. During the course of the year he takes particular pleasure in engaging in one of his passions, the song recital: at William Jewell College in Missouri; for the Dayton Opera and as part of the prestigious Rosenblatt Recital series in London, his first in the United Kingdom. The tenor revisits the Teatro alla Scala, the scene of many of his initial European bel canto triumphs, once again singing Almaviva there. He travels to Rome to record Rossini’s Stabat Mater with Antonio Pappano conducting the Accademia Nazionale di Santa Cecilia, to be released by Virgin Classics in 2010, and concludes his season returning to the Rossini Opera Festival in Pesaro as Don Ramiro in La Cenerentola.

Two of Mr. Brownlee’s most recently completed CDs are released, both on labels new for the tenor and centered around the works of Rossini: on Naxos, L’italiana in Algeri conducted by Alberto Zedda, and, on Opera Rara, an exploration of the composer’s song output, where he is joined by other colleagues, with Malcolm Martineau at the piano. Among Mr. Brownlee’s earlier CD releases is a live EMI recording of Carmina Burana with Sir Simon Rattle leading the Berliner Philharmoniker. The same label also issued his first solo disc featuring Italian songs by Schubert, Verdi, Donizetti, Bellini and Rossini, accompanied by pianist Martin Katz. A live Il barbiere di Siviglia co-starring Elina Garanca and Nathan Gunn, with Miguel Gómez-Martínez leading the Münchner Rundfunkorchester, appeared on Sony. In the summer of 2008 a DVD was released by Decca of the Covent Garden world premiere of Lorin Maazel’s 1984, and in January 2010, the Metropolitan Opera’s HD transmission of last season’s La Cenerentola, also starring Ms. Garanca, was released.


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