Peixin Chen
Ihren Neffen, einen falschen General, gibt Peixin Chen. Sein Bass ist dunkel grandios, seine Komik überwältigend.
Süddeutsche Zeitung, Reinhard J. Brembeck
Peixin Chen als General besitzt nicht nur eine flexible Bassstimme, auch die ganze Jämmerlichkeit, als dem General die erhoffte Erbschaft flöten gehen sieht, ist in der schulterhängenden Kraftlosigkeit, die Peixin Chen der Figur mitgibt, eindrucksvoll entworfen.
Augsburger Allgemeine
Mit Peixin Chen singt ein echter Bass den allmählichen Zusammenbruch desGenerals.
Radioklassik.at, Richard Schmitz
…Peixin Chen als General ungeachtet seines satten Basses mit großer Artikulationsfähigkeit beeindruckt.
Voralberg online, Martin Fichter-Wöß
Peixin Chen is youthful and hale, with a voice to match, which made for a robust, regal Timur.
New York Classical Review, Rick Perdian
The real colpo di cannone came from Peixin Chen as Bartolo. Introduced to Cincinnati audiences as the King in last year’s Aida, he brought a powerful voice to the role, more dangerous than the usual comic bass, something like the Grand Inquisitor adept at patter.
Opera News, Joe Law
Chen was excellent as the pompous Bartolo, whose intentions to marry Rosina himself are thwarted at every turn. His bass was big and imposing…
Cincinnati Business Courier, Janelle Gelfand
Perhaps the most exciting debutante (save one) was Peixin Chen as the King. An absolutely booming bass voice that was tremendously impressive in the theater. He sang his brief lines with such confidence you immediately wished his role were larger.
Parterre Box, Patrick Mack
Peixin Chen’s dramatically persuasive opening recitative (of Beethoven’s Ninth Symphony) revealed a bass voice of unusually plush resonance. Houston Grand Opera is fortunate to have him on their roster.
San Diego Story, Ken Herman
Peixin Chen’s Sarastro had the gravitas demanded by the character, combined with an elegant control of phrasing that made his presence a dominating one.’s warm vibrato sounded attractive and compelling in Sarastro’s music.
Palm Beach Daily News, Márcio Bezerra
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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Peixin Chen is recognized for his majestically resonant bass voice and a keen dramatic instinct that he brings to a wide range of roles on the international opera stage. His repertoire spans from the comic characters of Donizetti, Mozart, and Rossini to the strong and serious roles of Puccini, Verdi, and Wagner. Peixin Chen has worked with an illustrious array of conductors and directors including Harry Bicket, James Conlon, Eun Sun Kim, Sebastian Lang-Lessing, Lorin Maazel, Enrique Mazzola, Zubin Mehta, Giancarlo del Monaco, Andrés Orozco-Estrada, Michel Plasson, David Pountney, James Robinson, Esa-Pekka Salonen, Peter Sellars, Patrick Summers, Krzysztof Urbański, and Francesca Zambello.
Performances of the 2024-25 season include Sarastro in The Magic Flute at the Metropolitan Opera and Atlanta Opera, Colline in La bohème at the Lyric Opera of Chicago, Dulcamara in L’elisir d’amore for a debut at Florida Grand Opera, and Sparafucile in Rigoletto at Los Angeles Opera.
The bass made his debut at the Salzburger Festspiele playing the lead role of The General in a new production by Peter Sellars of Prokofiev’s The Gambler conducted by Timur Zangiev and other highlights of the 2023-24 season included a debut at the Teatro Real as Sparafucile in Rigoletto conducted by Nicola Luisotti, a return engagement with Los Angeles Opera as Commendatore in Don Giovanni led by Music Director James Conlon, and a debut with the Los Angeles Philharmonic in a fully-staged presentation of Das Rheingold under the baton of Music Director Gustavo Dudamel. Additional highlights included Turandot both at the Metropolitan Opera led by Oksana Lyniv and Marco Armiliato and at Washington National Opera conducted by Speranza Scappucci.
Peixin Chen has sung Sarastro in The Magic Flute at the Metropolitan Opera, Fasolt in Das Rheingold both at Seattle Opera and The Dallas Opera, and Colline in La bohème in a return engagement with Washington National Opera. He has bowed as Bartolo in Il barbiere di Siviglia at Cincinnati Opera, and has made a Lyric Opera of Chicago debut in the company’s Sir David McVicar new production premiere of the French, five act version of Verdi’s Don Carlos singing the Monk and covering Philippe II.
Highlights of recent seasons include a European debut at the Festival d’Aix en Provence in Aufstieg und Fall der Stadt Mahagonny conducted by Esa-Pekka Salonen in a new production by Ivo van Hove, Metropolitan Opera performances of The Magic Flute, Don Giovanni, and Boris Godunov, Rigoletto at Santa Fe Opera and the Lyric Opera of Kansas City, Die Zauberflöte and La bohème with Opera Philadelphia, L’elisir d’amore at Washington National Opera, and Dvořák’s Dmitrij at the Bard Music Festival.
A proud graduate of the Houston Grand Opera Studio and under the tutelage of Dr. Stephen King, Peixin Chen has bowed at Houston Grand Opera in productions of Turandot, Il barbiere di Siviglia, Le nozze di Figaro, Norma, Aida, Il trovatore, The Magic Flute, and Die Walküre, among others.
Peixin Chen’s dynamic concert career includes performances of the Verdi Requiem with the Houston Grand Opera Orchestra and Chorus conducted by Music Director Patrick Summers and with the Los Angeles Master Chorale led by Grant Gershon, Beethoven’s Missa Solemnis with Music Director Krzysztof Urbański and the Indianapolis Symphony Orchestra, and numerous performances of Beethoven’s Ninth Symphony including with Music Director Jaap van Zweden and the New York Philharmonic, with Music Director Rafael Payare and the San Diego Symphony, with Music Director Michael Stern and the Kansas City Symphony Orchestra, Leonard Slatkin and the Detroit Symphony Orchestra, and with Music Director Andrés Orozco-Estrada and the Houston Symphony.
The Gambler
Fasolt & Fafner Scene from Das Rheingold
"Se Vuol Ballare" from Mozart's Le nozze di Figaro
"Gada Meiren" (Mongolian Folk Song)
"Come dal ciel precipita" from Verdi's Macbeth
"Mögst du mein kind" from Wagner's Der fliegende Holländer
"Udite, udite, o rustici" from Donizetti's L'elisir d'amore
Varlaam's Aria from Mussorgsky's Boris Godunov
"In diesen heil'gen Hallen" from Mozart's Die Zauberflöte
Contact
General Management
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775
Email: [email protected]