« Performances: Concert, Recital & OratorioSong Index »
Performances: Opera
Click below to display details of Simon Keenlyside’s operatic performances
- 1984, Maazel: WINSTON SMITH
- Ariadne auf Naxos, Strauss: HARLEQUIN
- Armide, Gluck: UBALDE
- Ballo in maschera, Verdi: Count René Ankarström
- Barbiere di Siviglia, Rossini: FIGARO or FIORELLO
- Billy Budd, Britten: BILLY or DONALD
- Bohème La, Puccini: MARCELLO or SCHAUNARD
- Briséïs ou Les Amants de Corinthe, Chabrier: CATECHISTE
- Calisto La, Cavalli: MERCURIO
- Capriccio, Strauss: OLIVIER
- Carmen, Bizet: MORALES
- Cenerentola La, Rossini: DANDINI
- Cosi fan tutte, Mozart: GUGLIELMO
- Dom Sébastien Roi de Portugal, Donizetti: ABAYALDOS
- Don Carlo, Verdi: RODRIGO, Marquis de Posa and FLEMISH DEPUTY
- Don Giovanni, Mozart: DON GIOVANNI
- Elisir d’amore, Donizetti: BELCORE
- Eugene Onegin, Tchaikovsky: EUGENE ONEGIN
- Falstaff, Verdi: FORD
- Faust, Gounod: VALENTIN or WAGNER
- Fidelio, Beethoven: PRISONER
- Fledermaus, Strauss II: DR FALKE
- Hamlet, Ambroise Thomas: HAMLET
- Iphigenie en Tauride, Gluck: ORESTE
- Lustige Witwe, Lehár: DANILO
- Macbeth, Verdi: MACBETH
- Mamelles de Tirésias, Poulenc: LE GENDARME/LE DIRECTEUR
- Manon, Massenet: LESCAUT
- Meistersinger von Nürnberg, Wagner: NACHTWAECHTER (nightwatchman)
- Nozze di Figaro, Mozart: COUNT ALMAVIVA
- Orfeo, Monteverdi: ORFEO
- Otello, Verdi: MONTANO
- Pagliacci, Leoncavallo: SILVIO
- Pelleas et Melisande, Debussy: PELLEAS
- Queen of Spades, Tchaikovsky: YELETZKY
- Rape of Lucretia, Britten: TARQUINIUS
- Rigoletto, Verdi: RIGOLETTO
- Roi Arthus, Chausson: ARTHUS
- Szenen aus Goethes Faust, Schumann: FAUST/Dr. MARIANUS
- Tannhäuser, Wagner: WOLFRAM VON ESCHENBACH
- Tempest, Ades: PROSPERO
- Traviata, Verdi: GIORGIO GERMONT
- Tristan und Isolde, Wagner: STEUERMANN (Steersman)
- Turandot, Puccini: PING
- War and Peace, Prokofiev: PRINCE ANDREI BOLKONSKY
- Wozzeck, Berg: WOZZECK
- Zauberflöte, Mozart: PAPAGENO
{ 1 comment… read it below or add one }
Simon was wonderful at the opening of Don Carlo at the Met the other evening, Monday. Luckily, I had the privilege to be in the audience.
There was remarkable concentration of all present for the more intimate moments of Posa and Philip and even more so in the prison scene with Carlo.
In the ensemble scenes the huge, but still surprisingly clear accoustics of the Met, SK’s rather gentle and refined performance was somewhat overpowered by the seasoned and powerful co-singers.
The whole ROH production transfered very well to the Met and I for one hope it soon returns home