Hailed by Opera News for his “comedic high jinks” and “first-rate singing,” Philip Cokorinos was winner of the Metropolitan Opera National Council Auditions in 1985, and went on to sing his début during the Met’s 1987-1988 season. Since then, he appeared in more than 400 performances of 40 operas at The Met, including “Live from The Met” telecasts of Don Giovanni; the world première of The Ghosts of Versailles; and The Met’s premières of Sly, Cyrano de Bergerac, and The Gambler, to name a few. He appeared many times in their productions of the standard repertoire including Tosca, La bohème, La fanciulla del West, La traviata, Adriana Lecouvreur, La rondine, Die Meistersinger von Nürnberg, Macbeth, Manon, Don Carlo, Tosca, Il barbiere di Siviglia, Manon Lescaut, Le nozze di Figaro, under the baton of Maestro James Levine, and Shostakovich’s verismo expressionist opera Lady Macbeth of the Mtsensk. His recent appearances at this esteemed house include several The Metropolitan Opera Live in HD broadcasts including Manon, La fanciulla del West, The Nose, Werther, Manon Lescaut, Le nozze di Figaro, La bohème and Lady Macbeth of Mtsensk. This season, Mr. Cokorinos will perform as Zuniga in Carmen in a return to Los Angeles Opera and return to The Metropolitan Opera for their productions of Le nozze di Figaro, Tosca, and La bohème.
A house favorite with Los Angeles Opera, he’s appeared many times with the revered opera house. In past seasons, he made a triumphant return to the company for their “Beaumarchais Trilogy,” singing Bartolo in Rossini’s Il barbiere di Siviglia, Antonio in Mozart’s Le nozze di Figaro, and Pasha in Corigliano’s The Ghosts of Versailles, all under Maestro James Conlon. He later returned as Betto di Signa in their production of Gianni Schicchi/Pagliacci. He also appeared in a variety of roles with the house including Benoit/Alcindoro in La bohème, Baron Duphol in La traviata, Sacristan in Tosca, Zaretsky in Eugene Onegin, Duke of Verona in Roméo et Juliette, and Ser Amantio di Nicolao in Gianni Schicchi with director Woody Allen.
Elsewhere in recent seasons, he performed the title role in Don Pasquale with Opera Santa Barbara; débuted the role of Riolobo in Florencia en el Amazonas and performed the role of the Priest in La campana sommersa both with New York City Opera; sang Daland in Der fliegende Holländer with Lyric Opera of Kansas City; and added Swallow in Peter Grimes to his many roles with Chautauqua Opera, which include Méphistophélès in Faust, Oroveso in Norma, The Forester in The Cunning Little Vixen, and Raimondo in Lucia di Lammermoor. With Opera Colorado, he sang Don Magnifico in La Cenerentola and Sacristan in Tosca; with the Spoleto Festival USA, Coley in Flora and Capellio in Bellini’s I Capuleti e i Montecchi; and with Central City Opera, Don Marco in The Saint of Bleecker Street, Pandolfe in Cendrillon, and his most frequently performed role: Leporello in Don Giovanni.
Additional engagements in the US include Frère Laurent in Roméo et Juliette with Opera Carolina and Nashville Opera; Rocco in Fidelio with Palm Beach Opera; and Timur in Turandot with Florida Grand Opera. Canadian appearances include Banquo in Macbeth with Edmonton Opera and Basilio in Il barbiere di Siviglia with Calgary Opera and Opera Lyra Ottawa.
On the concert stage, Mr. Cokorinos’ notable symphonic appearances include Haydn’s Creation and Händel’s Messiah at Carnegie Hall, Herod in Berlioz’ L’enfance du Christ telecast with NHK Symphony in Tokyo. He appeared in concert with the Minnesota Orchestra; Cincinnati May Festival; Spoleto Festival USA; Spokane Symphony; Jacksonville Symphony; The Little Orchestra Society of New York; and in several performances with Opera Orchestra of New York including Don Magnifico in La Cenerentola, Raimondo in Wagner’s Rienzi, Rochefort in Anna Bolena, Astarote in Armida, Cardinal de Brogni in La Juive, the Prefect in Linda di Chamounix, Capellio in I Capuleti e i Montecchi, and Sarastro in Die Zauberflöte, staged in the Temple of Dendur at the Metropolitan Museum of Art.
His discography includes two works of Hector Berlioz with the Montreal Symphony under Charles Dutoit: Herod in L’enfance du Christ and Wagner in Huit Scenes de Faust, both released on DECCA. He can also be heard on the world-première recording of Stephen Paulus’ oratorio To Be Certain of the Dawn with the Minnesota Orchestra under Osmo Vanska.