Krystian Adam - Tenor - W Print

Krystian Adam graduated with honors in Voice and Music Education in Wroclaw. He then continued his studies at the “G. Verdi” Conservatory in Milan. He made his debut as Conte d'Almaviva in Il Barbiere di Siviglia, followed by La Clemenza di Tito (title role) and Il Matrimonio Segreto (Paolino).

Mr. Adam regularly collaborates with prestigious conductors and ensembles, including: Claudio Abbado/ Orchestra Mozart; Ian Adamus/ Capella Cracoviensis; Giovanni Antonini/ Il Giardino Armonico; Fabio Bonizzoni/ La Risonanza; Theodor Currentzis/ Musica Aeterna; Alan Curtis/ Il Complesso Barocco; Ottavio Dantone/ Accademia Bizantina; L'arte del mondo/ Werner Ehrhardt; Diego Fasolis/ I Barocchisti; Federico Guglielmo/ L'Arte dell'Arco; Vaclav Luks/ Collegium 1704; Federico Maria Sardelli/ Modo Antiquo.

Highlights of his successful career are: Handel's Rodelinda (Grimoaldo) with the Capella Cracoviensis; the world première of Fabio Vacchi's Teneke for his stage debut in 2007 at the Teatro alla Scala, conducted by Roberto Abbado; Handel's Israel in Egypt with Diego Fasolis; Handel's Il Trionfo del Tempo e del Disinganno (Tempo) with Fabio Bonizzoni; the modern première of Piccinni's Il Finto Turco with Federico Guglielmo; Ariodante (Lurcanio) in Beaune and in Santiago de Compostela with Federico Maria Sardelli; the modern première of Salieri's Il Mondo alla Rovescia at the Teatro Filarmonico in Verona; Purcell's Dido and Aeneas at the Teatro La Fenice in Venice, conducted by Attilio Cremonesi; Pergolesi's Dixit Dominus under Claudio Abbado with Orchestra Mozart (recorded for Deutsche Grammophon); Gluck's Le Cinesi at the Musikfestspiele in Potsdam and at the Winterthur Theatre with Werner Erhardt and L'Arte del Mondo; Ottone in Villa at the Innsbruck Festival with Giovanni Antonini; M. Haydn's Requiem MH559 in Leverkusen; Alessandro Scarlatti's La Giuditta in Rotterdam and Il Novello Giasone by Cavalli/ Stradella at the Festival della Valle d'Itria in Martina Franca.

Among Mr. Adam's other engagements it is worth mentioning: L'Incoronazione di Poppea (Arnalta) at the Maggio Musicale Fiorentino with Alan Curtis; Il Ritorno d'Ulisse in Patria at the Teatro alla Scala under Rinaldo Alessandrini, Robert Wilson directing; Die Entführung aus dem Serail (Pedrillo) at the Opera Company in Philadelphia under Corrado Rovaris and in several Italian houses; Mozart's Great Mass in C minor with the Oslo Philharmonic Orchestra under Manfred Honeck; Anfossi's La Finta Giardiniera (concert and recording for Sony) and Bach's Christmas Oratorio in Leverkusen with L'arte del Mondo; Handel's Solomon in Krakow with Ian Adamus; Handel's Rinaldo (Goffredo) with Ottavio Dantone in Italy; Le Nozze di Figaro in Cagliari and Perm (followed by a new studio recording for Sony under Theodor Currentzis); a revival of Gluck's Le Cinesi in Leverkusen and on tour in China; Scarlatti's Cain, ovvero il primo omicidio in Herne with Bonizzoni; Myslivecek's L'Olimpiade at the National Theatre in Prague with Vaclav Luks and Collegium 1704 on tour (Dijon, Luxembourg, Vienna TAW); Mozart’s Requiem (Levin ed.) in Altenberg and Dortmund; Haydn’s La Vera Costanza with Andreas Spering at the Haydn Festival Augustusburg (recorded by WDR); Bach’s Cantata BWV 131 in Wroclaw (Wratislavia Cantans) under Giovanni Antonini.

Mr. Adam in the past seasons performed: Rossini’s La pietra del paragone (Giocondo) and Il Re Pastore at the Théâtre du Châtelet in Paris under Jean-Christophe Spinosi; Monteverdi’s Vespro della Beata Vergine with the Monteverdi Choir and John Eliot Gardiner in Cambridge, Versailles and Barcelona; Haydn’s Philemon und Baucis in Monte Carlo with Europa Galante and Fabio Biondi; Bach’s Matthäus-Passion with the Akademie für Alte Musik in Berlin and Munich; Zelenka’s Te Deum at the Wratislavia Cantans Festival and on tour with Vaclav Luks; Il Trionfo del Tempo e del Disinganno in Versailles with La Risonanza; L’occasione fa il ladro at the Théâtre des Champs-Elysées under Enrique Mazzola; Respighi’s Lauda per la natività del Signore with the Rundfunk Sinfonie Orchester in Berlin; Bach’s B-minor Mass at the Maggio Musicale in Florence under Stefano Montanari; Handel’s Giove in Argo at the Handel Festival in Halle with L’arte del mondo and Werner Ehrhardt; Mozart’s Idomeneo at the Covent Garden under Mark Minkowski and in Venice under the baton of Jeffrey Tate.

Under the baton of Sir John Eliot Gardiner, Krystian Adam starred in Monteverdi’s L’Orfeo (title role) and Vespers on US tour and in London at the BBC proms and in Versailles with the Monteverdi Choir and the English Baroque Soloists and starred in Monteverdi’s Combattimento di Tancredi e Clorinda at the Wigmore Hall in London and in Versailles. Most recently Mr. Adam has starred in Monteverdi’s Trilogy world-wide tour in L’Orfeo(title role) and Il Ritorno di Ulisse in Patria (Telemaco) under the baton of Sir John Eliot Gardiner.

Past season engagements include: Bach’s Cantata BWV 201 at the Leipzig Bachfest under Vaclav Luks; Mozart’s Great Mass in C minor in Bordeaux and Toulouse with Ensemble Pygmalion and Rapahël Pichon; Haydn’s La canterina (don Pelagio) with Cappella Augustina at Brühl Castle; Le Nozze di Figaro at the Covent Garden in London under Ivor Bolton; Die Zauberfloete at the Opéra Royal de Wallonie in Liège under the baton of Paolo Arrivabeni; Bach’s Magnificat in Berlin with the Deutsche Symphonie- Orchester and Rinaldo Alessandrini; Puccini’s La Fanciulla del West (Joe) at La Scala in Milan under the baton of Chailly; Handel’s Messiah with Collegium 1704 in Prague and with La Risonanza at the Händel Festspiele in Halle, in Saint Michel and in Milan.

Most recently, worth mentioning: the debut of Don Ottavio in Don Giovanni at the Hudební festival in Znojmo and then at the Teatro dell’Arte in Milan (Triennale) – both productions performed on period- instruments; Le Nozze di Figaro (Basilio) at the Dutch National Opera in Amsterdam, Ivor Bolton conducting; Adriana Lecouvreur (Abate di Chazeuil) at the Covent Garden in London, production by David Mc Vicar, Daniel Oren conducting; Mozart’s Great Mass in C Minor in Dusseldorf with the Düsseldorfer Symphoniker under the baton of Maestro Sir Neville Marriner. He recorded Mozart’s Il Sogno di Scipione (Publio) in London with the Classical Opera Company and Ian Page; L'Incoronazione di Poppea with Spinosi in Barcelona and Bilbao; Messiah in Pistoia; Don Giovanni in Tel Aviv; Monteverdi's L'Orfeo in Leverkusen and Dusseldorf with L'Arte del Mondo; Aronne in Mosè in Egitto in Naples under Stefano Montanari; Salieri's La Fiera di Venezia in Schwetzingen and Leverkusen with L'Arte del Mondo; Grimoaldo in Handel’s Rodelinda in Lyon under Stefano Montanari; Saul in Brno and Prague; Arbace in Idomeneo at the Teatro Real in Madrid, Robert Carsen directing ; Handel's Messiah in Prague and Dresden with Collegium 1704 and Vaclav Luks; San Giovanni Battista at the Salzburg Festival; King Roger and Paukenmesse at the Wratislavia Cantans International Festival; La Resurrezione with La Risonanza and Fabio Bonizzoni in Milan and on tour; Israel in Egypt with Collegium 1704 and Vaclav Luks on tour in Europe.

Plans include Bach’s Matthäus Passion at the Théâtre des Champs-Elysées under Vaclav Luks; Die Entfuhrung aus dem Serail in Glyndebourne; Messiah at the Festival Monteverdi in Cremona; Saul (Jonathan) in Znojmo and Helesov; Benvenuto Cellini with Sir J.E. Gardiner and Monteverdi Choir and Orchestra on tour in Europe; Le Nozze di Figaro in Vienna and Lucerne and in London at the Royal Opera Hose Covent Garden in London; Haydn's Orfeo in Eisenstadt; L'Ercole Amante in Paris and in Versailles; Idomeneo (title role) in Tal Aviv; Corselli's Achille in Sciro at the Teatro Real in Madrid.

 

March 2019

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