Peixin Chen

Bass Peixin Chen’s warm vibrato sounded attractive and compelling in Sarastro’s music.
Opera News, David Shengold

Peixin Chen’s phenomenally invigorating bass instrument opens the show with an authoritative rendition of “All’erta! All’erta” and “Di due figli vivea padre beato.” He masterfully captures the attention of the audience and draws us into the intrigue and mystery of the production.
BroadwayWorld, David Clarke

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A graduate of the Houston Grand Opera Studio and a student of Dr. Stephen King, Peixin Chen is recognized for his majestically resonant bass voice and for a keen dramatic instinct that he brings to a wide range of roles on the international opera stage.  His repertoire spans from the comic parts of Donizetti, Mozart, and Rossini to the strong and serious roles of Puccini, Verdi, and Wagner. Peixin Chen regularly works with an illustrious array of conductors and directors including Harry Bicket, Sebastian Lang-Lessing, Lorin Maazel, Zubin Mehta, Giancarlo del Monaco, Andrés Orozco-Estrada, David Paul, Michel Plasson, David Pountney, James Robinson, Esa-Pekka Salonen, Patrick Summers, Krzysztof Urbański,and Francesca Zambello.

Peixin Chen returns to Houston Grand Opera this season in Aida, the title that also serves the bass with his debut at Cincinnati Opera, and he makes a company debut at the Dutch National Opera in a new production of Kurt Weill’s Aufstieg und Fall der Stadt Mahagonny directed by Ivo van Hove under the baton of Markus Stenz. Other appearances of the season include The Magic Flute for New Orleans Opera, La bohème with Opera Naples, and Madama Butterfly with Portland Opera.  On the concert stage, Peixin Chen appears with the Indianapolis Symphony and Krzysztof Urbański in Beethoven’s Missa Solemnis and with the Kansas City Symphony and Michael Stern in Beethoven’s Ninth Symphony.

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Highlights of the 2018-19 season included a European debut at the Festival d’Aix en Provence in Aufstieg und Fall der Stadt Mahagonny conducted by Esa-Pekka Salonen, a Metropolitan Opera debut as Sarastro in The Magic Flute conducted by Harry Bicket and later performances as Masetto in Don Giovanni led by Cornelius Meister, and a return to Opera Philadelphia as Colline in La bohème conducted by Corrado Rovaris.

Peixin Chen has sung Sparafucile in Rigoletto at Santa Fe Opera and the Lyric Opera of Kansas City, Sarastro in Die Zauberflöte with Opera Philadelphia, Dulcamara in L’elisir d’amore at Washington National Opera, and the Patriarch of Moscow in Dvořák’s Dmitrij at the Bard Music Festival in a new production directed by Anne Bogart.  With his home company of Houston Grand Opera, he has bowed as Don Bartolo in Il barbiere di Siviglia, Oroveso in Norma, Ferrando in Il trovatore, Sarastro in The Magic Flute, and as Hunding in Die Walküre.  As a member of the Merola Program under the auspices of San Francisco Opera, he appeared as Basilio in performances of Il barbiere di Siviglia.

Le nozze di Figaro has featured prominently in the bass’ career assaying the title role in a new production by David Paul for Opera Saratoga and bowing as Bartolo at the Houston Grand Opera conducted by Harry Bicket in the company’s acclaimed production by Michael Grandage, at Beijing’s National Center for the Performing Arts, and in fully-staged performances with the Milwaukee Symphony Orchestra led by Edo de Waart.

Peixin Chen’s concert schedule has included performances of the Verdi Requiem with the Houston Grand Opera Orchestra and Chorus conducted by Music Director Patrick Summers and Beethoven’s Ninth Symphony with Leonard Slatkin and the Detroit Symphony Orchestra as well as with Andrés Orozco-Estrada and the Houston Symphony.

 

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I Vespri Siciliani, National Center for the Performing Arts

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La cenerentola, Houston Grand Opera

Contact

General Management
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775
Email: bp@etudearts.com