Douglas Kinney Frost


Douglas Kinney Frost, Producing and Artistic Director of Syracuse Opera, has led orchestras throughout the U.S. and South America consistently receiving high praise from journalists and his colleagues. “Under the baton of music director Douglas Kinney Frost the orchestra consistently presents concerts that are interesting, stimulating and thought-provoking,” says the Deseret News.  Labelled a Britten specialist, he has been invited by Maestro James Conlon five times to work on Benjamin Britten Operas: The Turn of the Screw, Albert Herring, and Billy Budd with Los Angeles Opera and A Midsummer Night’s Dream and Curlew River with the Fondazione Teatro dell’Opera in Rome.  He will return to Los Angeles Opera this season for John Corigliano’s The Ghosts of Versailles.



Difficulty of Crossing a Field
Beth Morrison Projects
New York, NY

Die Fledermaus
Syracuse Opera
Syracuse, NY

Il barbiere di Siviglia
Los Angeles Opera
Los Angeles, CA

Il barbiere di Siviglia
Syracuse Opera
Syracuse, NY
Please click below to see full quote

 Der fliegende Holländer - ““With Douglas Kinney Frost at the helm, every musical element was precisely on course Friday night as Syracusans witnessed a significant milestone in their shared cultural experience. Douglas Kinney Frost conducted with remarkable control, bringing the larger-than-usual orchestra to a level of excellence that matched that of the leads (Greer Grimsley and Lori Philips).  He led an exciting, emotional performance, and the Syracuse Symphony acquitted itself with honor. Who knew it was a Wagner orchestra? Kinney Frost deserves great credit for this achievement. This is a performance we’ll remember for a long time.” -Post Standard
…Frost had just one shot to get it right – and he did…
 Porgy and Bess - “Another reason for the company’s success was the direction of the singers and instrumentalists by Douglas Kinney Frost. Conducting the orchestra with his back to the singers, Frost — aided by display screens strategically placed at various parts of the stage — managed to juggle competing forces with no major mishaps. (It customarily takes a performance or two to work out the kinks.) Frost had just one shot to get it right — and he did.” -Opera Today 
…good tone and accuracy…
L’elisir d’amore – “Conductor Douglas Kinney Frost was very visible, and the chamber orchestra could be clearly heard. They played with good tone and accuracy.” -Times Union
…company’s artistic renaissance under Kinney Frost…
 Madama Butterfly - “Conductor Douglas Kinney Frost, who is also the company’s Music Director is getting the very best out of Symphony Syracuse. The orchestra played with passion. Kinney Frost’s interpretation enchances and underscores the grim proceedings. This contributed to the emotional punch of Butterfly’s suicide at the curtain. This Butterfly was another large step in the company’s artistic renaissance under Kinney Frost. Given his way with Puccini, next season’s first offering, TOSCA, should be just as impressive.”Cafe’ Momus
…shining moments from the pit…
Madama Butterfly – “The orchestral interlude between scenes is one of the many shining moments from the pit, where Douglas Kinney Frost conducted Symphony Syracuse.” -Syracuse Post-Standard
…encouraged a sensitive and invigorating orchestral performance…
La traviata - “Special credit goes to conductor Douglas Kinney Frost for adept accompanying from the pit, who encouraged a sensitive and invigorating orchestral performance from the Anchorage Opera Orchestra.  Judging by the enthusiastic curtain calls and subsequent standing ovation, this Traviata was another solid success for Anchorage Opera.”Anchorage Daily News
…knew the music inside and out…
Dreaming Blue - “Conductor Douglas Kinney Frost clearly knew the music inside and out. The musical climaxes filled the theater with magnificent sound.  The Orchestra gave an expert performance.”Billings Gazette
Mozart’s Requiem -“Conductor Douglas Kinney-Frost did a tremendous job directing Mozart’s stirring final masterpiece.  His interpretation turned this into an intensely personal statement.  The performance was charged with raw emotion.  It was poignant, heart wrenching, tender but also dramatic and impassioned.  But above all, this interpretation was always sincere and honest in its approach to the music.”Kansas City Star
…understated yet effective…
Madama Butterfly- “Douglas Kinney Frost led Symphony Syracuse in the pit, and he exhibited the same understated yet effective mood as Butterfly. The orchestra played beautifully throughout the evening. Syracuse Opera can be proud of making an old standard fresh for our community.”
Composer Opera
Adamo Little Women
Adams Nixon in China
Argento Postcard from Morocco
Beethoven Fidelio
Bellini I Capuleti e i Montecchi
La sonnambula
Bernstein Candide
West Side Story
Bizet Carmen
Les pêcheurs de perles
Britten Albert Herring
Burning Fiery Furnace
Peter Grimes
The Prodigal Son
The Rape of Lucretia
Curlew River
The Turn of the Screw
Billy Budd
A Midsummer Night’s Dream
Carlson Anna Karenina
Ching Cue 67
Donizetti Don Pasquale
L’elisir d’amore
Lucia di Lammermoor
Floyd Of Mice and Men
Gershwin Porgy and Bess
Gilbert & Sullivan The Mikado
Gluck Armide
Gounod Faust
Roméo et Juliette
Händel Alcina
Giulio Cesare
Hoiby The Tempest
Humperdinck Hänsel und Gretel
Larsen Dreaming Blue
Lehár The Merry Widow
Leigh & Darion Man of La Mancha
Leoncavallo Pagliacci
Lerner & Loewe Camelot
Loesser Guys and Dolls
Mascagni Cavalleria rusticana
Menotti The Medium
Mozart Così fan tutte
Don Giovanni
Die Entführung aus dem Serail
Le nozze di Figaro
Die Zauberflöte
Piazzola María de Buenos Aires
Paulus The Three Hermits
Puccini La bohème
Gianni Schicchi
Madama Butterfly
Manon Lescaut
Suor Angelica
Purcell Dido and Aeneas
Romberg The Desert Song
The New Moon
Rossini Il barbiere di Siviglia
La Cenerentola
Sondheim Into the Woods
A Little Night Music
Side by Side
Sweeney Todd
Smetana The Bartered Bride
Saint-Saëns Samson et Dalila
Struass Ariadne auf Naxos
Tchaikovsky Eugene Onegin
Verdi Aïda
Un ballo in maschera
La traviata
Il trovatore
Wagner Der fliegende Holländer
Die Meistersinger
Weber Der Freischütz

Composer Work
Albinoni Adagio in G Minor
Bach, J.C. Sinfonia No.2, Op. 18
Bach Brandenburg Concerti
Cantata No. 140 (Wachet Auf)
Mass in B Minor
Orchestral Suite No. 1
St. Matthew Passion
Barber Adagio for Strings
Knoxville: Summer of 1915
Prayers of Kierkegaard
Violin Concerto
Bartok Concerto for Orchestra
Beethoven Choral Fantasy
Christ on the Mount of Olives
Corolian Overture
Missa Solemnis
Symphonies 1-3, 5, 7-9
Violin Concerto
Bernstein Chichester Psalms
Berlioz Overture to Benvenuto Cellini
Bizet Symphony in C
Borodin Polovstian Dances, from Prince Igor
Boyce Symphony No. 3
Brahms Academic Festival Overture
Alto Rhapsody
Liebeslieder Walzes
Symphonies 1-4
Tragic Overture
Britten Ceremony of Carols
Four Sea Interview
Piano Concerto
Rejoice in the Lamb
Simple Symphony
Te Deum
Charpentier Messe de Minuit de Noel
Cherubini Requiem in C Minor
Copland Appalachian Spring
Music for the Theater
Chopin Piano Concerto No. 2
Corelli Concerto Grosso Op. 6 No. 8
Corigliano Voyage for Orchestra
Debussy Prelude a L’Apres-midi d’un Faun
Duruflé Requiem
Dvořák Carnival Overture
Orchestral Suite No. 2
Stabat Mater
Symphony No. 6
Symphony No. 7
Elgar Enigma Variations
Serenade for Strings
The Dream of Gerontius
Fauré Requiem
Finzi In Terra Pax
Gershwin An American in Paris
Piano Concerto
Grainger Irish Tune from County Derry
Händel Coronation Anthems
Entrance of the Queen of Sheba
Eternal Source of Light Divine
Judas Maccabaeus
Let the Bright Seraphim
Water Music
Hanson Lament for Beowulf
Haydn Creation
Lord Nelson Mass
Symphony No. 59
Honneger King David
Hovanhess Celestial Symphony
Ibert Divertissement for Small Orchestra
Mahler Adagietto from Symphony No. 5
Symphony No. 1 (Titan)
Mendelssohn Elijah
Overture to A Midsummer Night’s Dream
Sinfonia No. 4 (Italian)
Violin Concerto
Menotti For the Death of Orpheus
Mozart Ave Verum Corpus
Concerto for Clarinet
Mass in C Minor
Missa brevis in F
Piano Concerti 18 and 23
Regina Coeli
Serenade in G
Symphonies 21, 29, 31, 38, 39, 40, 41
Te Deum
Vesperae solennes de confessore
Orff Carmina Burana
Paulus The Three Hermits
Prokofiev Peter and the Wolf
Symphony No. 1 (Classical)
Puccini Magnificat
Rachmaninoff Symphony No. 2
Respighi Laud to the Nativity
Rossini Overture to La gazza ladra
Overture to La scala di seta
Stabat Mater
Schiff, David Stomp
Schubert Mass in G
Schumann Symphonies 3 & 4
Shostakovich Chamber Symphony, Op. 110a
Sibelius Symphony No. 7
Stravinsky L’Histoire du Soldat
Pulcinella Suite
The Rite of Spring
Tchaikovsky Serenade for Strings
Sleeping Beauty
The Nutcracker
Thompson Frostiana
The Last Words of David
The Peaceable Kingdom
Vaughan Williams Five Mystical Songs
Serenade to Music
Verdi Overture to La forza del destino
Te Deum
Vivaldi Gloria
The Four Seasons
Wagner Siegfried Idyll
Wallace, Walker Concerto for Violin and Clarinet (premiere)
Douglas Kinney Frost, Producing and Artistic Director of Syracuse Opera, has led orchestras throughout the U.S. and South America consistently receiving high praise from journalists and his colleagues. “Under the baton of music director Douglas Kinney Frost the orchestra consistently presents concerts that are interesting, stimulating and thought-provoking,” says the Deseret News.

In concert, the breadth of his repertoire has been highlighted in performances with the National Symphony of Mexico, the Bellas Artes in Mexico City, and orchestras in Brazil and Uruguay, Russian Federal Orchestra in Moscow, St. Petersburg Festival Orchestra, Kharkov Philharmonia in Ukraine, and the National Orchestra of Korea in Seoul, Grand Teton Music Festival Orchestra, and in the U.S. with the Colorado Bach Festival, Rochester Philharmonic, Westminster College, Utah, Virginia, and Richmond Symphonies, among others.

Labelled a Britten specialist, Frost was invited by Maestro James Conlon to serve as associate conductor for his work on Benjamin Britten Operas, five times: The Turn of the Screw, Albert Herring, and Billy Budd with Los Angeles Opera and A Midsummer Night’s Dream and Curlew River with the Fondazione Teatro dell’Opera in Rome.  He will return to Los Angeles Opera this season for John Corigliano’s The Ghosts of Versailles.

In addition to his productions at Syracuse Opera, this season, he will serve as Music Director and conductor for a co-production of David Lang’s Difficulty of Crossing a Field for Beth Morrison Projects which will see a concert performance in New York and be recorded and released on Cantaloupe Records.

Other recent highlights include performances of Porgy and Bess at the prestigious Teatro Colón in Buenos Aires, La bohème at the Florida Grand Opera, L’elisir d’amore for Opera Saratoga, the Boston première of Little Women and Turn of the Screw at the New England Conservatory, The Prodigal Son with University of Southern California, Gluck’s Armide and Argento’s Postcard from Morocco at the University of Michigan, a double-bill of Suor Angelica/Gianni Schicchi at the Mississippi Opera, a new production of Madama Butterfly and La traviata with Anchorage Opera, concerts in Moscow, Kharkov, and Salt Lake City, and the associate conductor for Opera Colorado’s production of Nixon in China, which was recently released on the Naxos record label.   With Opera on the James, where he served as Music Director, he conducted the company’s productions of Madama Butterfly, Die Fledermaus, Die Zauberflöte, and Gianni Schicchi/Suor Angelica.

As Music Director of Syracuse Opera, Douglas Kinney Frost refocused the company’s artistic vision and redefined its commitment to the community. He broadened main-stage programming by conducting the company’s first new production of an American work, Mark Adamo’s Little Women, while maintaining a commitment to producing the standard repertoire with distinction. He inaugurated a Resident Artist Program whose members appear throughout upstate New York in performances of Peter Brook’s La tragédie de Carmen, Kinney Frost’s OPERAMANIA!, and a new adaptation of La bohème titled Barrio Bohème, which is set in 1960’s Spanish Harlem, created by Kinney Frost.

He also led their productions of Rigoletto, Don Pasquale, Roméo et Juliette, La bohème, Susannah, Die Zauberflöte, Hänsel und Gretel, La traviata, Madama Butterfly, Tosca, Le nozze di Figaro, La tragedie de Carmen, and Porgy and Bess. In addition, concert performances of Der fliegende Holländer in collaboration with the Syracuse Symphony with opera stars Greer Grimsley and Lori Phillips. This season’s engagements at Syracuse Opera include Die Fledermaus and Il barbiere di Siviglia.

Mr. Kinney Frost was previously the Head of Music Staff and Chorus Master at Florida Grand Opera in Miami. Opera Now magazine credits him with “transforming the FGO Chorus into a superb, well-blended group.” The Miami Herald “would venture that FGO’s chorus can match even the best the world’s opera houses have to offer.” He has prepared choruses for over 20 FGO productions, in addition to being a house conductor and managing the company’s musical resources. He also served as a faculty member of the FGO’s acclaimed young artist program serving as Conductor.

Before coming to Miami, Mr. Kinney Frost spent six seasons as Associate Conductor and Chorus Master for Utah Opera, providing musical leadership over 25 productions, and conducting main-stage productions. He also led several cutting edge productions with the company’s young artist program, and created the Company’s nationally recognized educational programming.

In 2006, he completed seven seasons as Music Director of the Opus Chamber Orchestra in Salt Lake City, appearing with leading international instrumental and vocal artists. The Orchestra gave many premières by prominent composers under Maestro Kinney Frost’s direction, including the world premières production of Libby Larsen’s Dreaming Blue at the Kennedy Center’s Imagination Celebration.  In addition, he led their performances of Fidelio, Maria de Buenos Aires, and a new production of Alcina.

As an advocate for arts education Mr. Kinney Frost has created numerous education and outreach programs for orchestras and opera companies. One of his opera education programs, OPERAMANIA, was broadcast for one season on PBS. He is frequently asked to lecture about music and the training of young vocalists and conductors. He has been a panelist at conferences for the National Endowment for the Arts, American Symphony Orchestra League, Conductor’s Guild, Utah Arts Council, Opera America and Virginia Commission for the Arts.

His training includes conducting study with Kenneth Kiesler and Jorge Mester. He trained in workshops with Marin Alsop, Gustav Meier, and Carl St. Clair. Maestro Kinney Frost is a four-year participant in the Conductors Retreat at Medomak, and now serves on the Board of Directors of the conducting program as Alumni Chair.

Share this