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“Mögst du mein Kind,” Wagner’s Der Fliegende Holländer

“Mögst du mein Kind,” Wagner’s Der Fliegende Holländer

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Kristopher Irmiter

Bass-Baritone

Bass-baritone Kristopher Irmiter performed over 100 roles with more than 60 opera companies in his critically acclaimed career. Of a performance of the title role in Don Pasquale with Florida Grand Opera, Miama Herald wrote, “Kristopher Irmiter was an appropriately bumbling Don Pasquale. His firm bass-baritone comfortably encompassed the role’s lowest reaches and he could spin patter at high speed while stumbling about the stage.” This season’s engagements include the role of Lt. Ratcliffe in Billy Budd with Des Moines Metro Opera, Raimondo in Lucia di Lammermoor with Florida Grand Opera, the roles Blind Man/Stobrod in Cold Mountain with North Carolina Opera, and Horace Giddens in Regina with Opera Theatre of St. Louis.

Jul
2017

Jul-01
to
Jul-14
Billy Budd
Lt. Ratcliffe
Des Moines Metro Opera
Indianola, IA
Sep
2017

Sep-28
to
Oct-03
Cold Mountain
Blind Man/ Stobrod
North Carolina Opera
Raleigh, NC
Nov
2017

Nov-11
to
Nov-30
Lucia di Lammermoor
Raimondo
Florida Grand Opera
Miami, FL
May
2018

May-26
to
Jun-24
Regina
Horace Giddens
Opera Theatre of Saint Louis
St. Louis, MO
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…powerful and incisive…
 La fanciulla del West “Strapping, handsome Kristopher Irmiter was a powerful and incisive Jack Rance. The celebrated Poker Scene found him in total control of a full palette of vocal effects and conflicted, turbulent emotions. Mr. Irmiter’s imposing baritone is dark and commanding, and his Rance was virile and compelling.” -Opera Today
…dashing stage presence and solid vocal technique…
 Don Giovanni “Even so, the anchor of the performance was the Don of Kristopher Irmiter. This was his first attempt at the part, and he will doubtless grow into it even more in future productions, but it was evident that he has all the requisites — dashing stage presence, acting ability and solid vocal technique. His voice has a bit of an edge to it that seems particularly appropriate for the machinations of the infamous Don, while being seductive when needed — as when he cajoled Zerlina and deceived Donna Elvira. This is a Don to be watched.” -Opera News
…focused baritone…
Der fliegende Holländer The spectral sailor — sung by Utah favorite Kristopher Irmiter — is allowed to come ashore once every seven years to search for a woman who will remain faithful and enable his salvation. Irmiter brought a sense of vulnerability to the cursed Dutchman, whose quest had previously met with disappointment. His focused baritone allowed him to resonate above the orchestra in the acoustically superb Ellen Eccles Theatre. Salt Lake Tribune
…finely handled bass…
 Il trovatore“With an athletic appearance and finely handled bass, Kristopher Irmiter proved a convincing Ferrando. His acting was especially noteworthy during the interrogation of Azucena in Act III.” Opera News
…a towering performance…
 The Crucible “Baritone Kristopher Irmiter as John Proctor gave a towering performance of burnished singing, compelling acting and instinctive movement. This is his debut with UFO, but Utah Opera Company audiences will remember him.”The Salt Lake Tribune
Bass-baritone Kristopher Irmiter performed over 100 roles with more than 60 opera companies in his critically acclaimed career. Of a performance of the title role in Don Pasquale with Florida Grand Opera, Miama Herald wrote, “Kristopher Irmiter was an appropriately bumbling Don Pasquale. His firm bass-baritone comfortably encompassed the role’s lowest reaches and he could spin patter at high speed while stumbling about the stage.” This season’s engagements include the role of Lt. Ratcliffe in Billy Budd with Des Moines Metro Opera, Raimondo in Lucia di Lammermoor with Florida Grand Opera, the roles Blind Man/Stobrod in Cold Mountain with North Carolina Opera, and Horace Giddens in Regina with Opera Theatre of St. Louis.

With an impressive repertoire of title roles in some of opera’s most prominent titles, Mr. Irmiter has certainly made his mark in the opera world. Some highlights of these include the title role of Der fliegende Holländer with Michigan Opera Theatre and Utah Festival Opera, Le nozze di Figaro with Portland Opera and Opera Carolina, and Don Giovanni with Opera Carolina. Along with these, he also performed a multitude of other lead roles including Athanaël in Thaïs with Florida Grand Opera, Count Gil in Il segreto di Susanna with Odyssey Opera, Jack Rance in La fanciulla del West with Des Moines Metro Opera, Lt. Horstmayer in Silent Night with Michigan Opera Theatre, and Horrace in Regina with Utah Symphony and Opera.

Mr. Irmiter has a collection of numerous principal roles under his belt, including Scarpia in Tosca with Florida Grand Opera, Arizona Opera, Syracuse Opera, and his début at Lyric Opera of Chicago; Escamillo in Carmen with Opera Carolina and his role with San Francisco Opera; Daland in Der fliegende Holländer with Opera Carolina and Indianapolis Opera; Forester in The Cunning Little Vixen with Portland Opera; Mephistopheles in Faust with Utah Festival Opera and Lyric Opera Baltimore; and Leporello in Don Giovanni with Hawaii Opera Theatre.

Having worked with some of the leading opera houses in North America, Mr. Irmiter is a house favorite at many leading companies. Some of these houses include San Diego Opera, where he performed Angelotti in Tosca, Fifth Jew in Salome, Ned Keene in Peter Grimes, and Second Priest in Assassinio nella cattadrale (an operatic adaptation of the T.S. Eliot play Murder in the Cathedral); Atlanta Opera, where he performed Capulet in Roméo et Juliette, Lodovico in Otello, and Rucker Lattimore in Cold Sassy Tree, which he also performed with Opera Omaha; Opera Carolina, where he performed Don Alfonso in Così fan tutte, Prince Gremin in Eugene Onegin, Ferrando in Il trovatore, Don Pizzaro in Fidelo, which he also performed with Manitoba Opera, and Raimondo in Lucia di Lammermoor, which he also performed with Toledo Opera and Opera Cleveland; Austin Lyric Opera, where he performed Alidoro in La Cenerentola and The Immigration Officer in Jonathan Dove’s Flight; Pittsburgh Opera, where he performed Orest in Elektra, in his début with the company, and Mr. Redburn in Billy Budd; and Odyssey Opera, where he performed Le Comte de Gormas in Le Cid and Raimondo in Rienzi.

He participated in three world-première productions, creating the role of Arlington in Wakonda’s Dream with Opera Omaha, T.J. Rigg in Elmer Gantry with Nashville Opera, and Bishop Dyer in Riders of the Purple Sage with Arizona Opera. Additional opera engagements include the role of Don Alfonso in Così fan tutte at Ash Lawn Opera; The Mayor in Jenůfa with Des Moines Metro Opera; Pimen in Boris Godunov with Utah Festival Opera; Ashby in La fanciulla del West with Opéra de Montréal; Monoah in Ede Donáth’s rarely performed Szulamit; and Braxton/Sherrin in Mines of Sulphur with Glimmerglass Opera, which was recorded on the Chandos label and nominated for a Grammy award.

In concert, recent engagements include Bach’s St. Matthew Passion and Mozart’s Requiem in Utah; Beethoven’s Symphony No. 9 with the Greater Bridgeport Symphony Orchestra; and the roles of Scarpia in Tosca with Boston Youth Symphony Orchestra and Mephistopheles in Faust with Utah Symphony & Opera.

 

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