Neumann Artists Management - Amsterdam

25/01/2024

Gyula Orendt
Berlin Philharmonic Orchestra
Conductor: Kirill Petrenko
Schönberg’s Die Jacobsleiter
Role: Der Auserwählte
25, 26, 27 January 2024

03/10/2023

07/04/2022

Cosi fan tutte
Gyula Orendt
Guglielmo

03/11/2021

Doña Francisquita

18/05/2021

Nicole Chevalier as Vitellia at the Royal Opera London: “Vitellia is sung with vituperative panache by Nicole Chevalier, setting off sparks at the high and low extremes of her voice, and acted like Bette Davis let loose in the melodrama of her dreams. It is a good thing there is not more scenery or she would have chewed it to bits.“

The company’s first full-scale production in more than a year brings a cast of vividly drawn characters to Mozart’s work

09/05/2021

Neumann Artists is proud to present NICOLE CHEVALIER on the cover page of Opernwelt May 2021 + 6 pages interview/portrayal:
“PURE ENERGY”

14/04/2021

The Royal Opera’s opening production since closure for Covid-19 will be La Clemenza di Tito on 17 May 2021. Two more opera productions on the main stage will follow this season; one of which Don Giovanni.
Neumann Artists is proud to represent NICOLE CHEVALIER in both productions: Vitellia in Tito; and Donna Elvira, next to Erwin Schrott and Christopher Maltman as Don Giovanni.

The ROH's doors will open to socially-distanced, in-person audiences from 17 May.

25/03/2021

“Katie Mitchell directs a new production of Handel’s oratorio Theodora in January 2022 – a work not seen on the stage at Covent Garden since 1750. An international cast includes American soprano Julia Bullock in the title role and mezzo-soprano Joyce DiDonato as Irene, alongside British tenor Ed Lyon, Polish countertenor Jakub Józef Orliński and Hungarian-Romanian baritone Gyula Orendt.”

Programme features 11 new productions, including five world premieres and an exciting roster of UK and international talent with many debuts.

24/01/2021

Viva!

Obwohl es zu den von der Corona-Pandemie am stärksten betroffenen Ländern zählt, geht Spanien einen eigenen kulturpolitischen Weg. Hier wird es Opernhäusern,...

13/10/2020

Opernwelt Yearly Review 2020, page 56:
- Important Female Singers: NICOLE CHEVALIER

“SHE IS PERHAPS THE MOST STUNNING MOZART-HEROINE OF OUR TIMES"

“She is perhaps the most stunning Mozart-Heroine of our times. Unlimited, flawlessly, with a furor in her voice and expression that blows away everything that stands in the way of this powerful and unconditional emptying of soul. Be it as Vitellia in Mozart’s opera 'La Clemenza di Tito' at the Theater an der Wien (Foto), or as Elettra — hunted by furies — in 'Idomeneo' at the Salzburg Festival, there is only one. "She stands in her anthracite-colored dress on the huge empty stage of the Felsenreitschule in Salzburg, all alone with herself and her feelings, and she doesn't know how to help herself, other than to discharge her great need to be heard and understood. B ut it is “how” she does this that is so remarkable. With the accompagnato-recitative 'O smania O furie' in Idomeneo every note Nicole Chevalier sings simmers as intensely as a volcano, spitting lava rocks into the air. In the ensuing C minor aria, 'D'Oreste d'Aiace', there is actually no stopping her. The volcano that is - Nicole Chevalier - erupts!” (Opernwelt September/October 2019)

TRANSLATION OF THE ORIGINAL GERMAN TEXT
„Sie ist die vielleicht überwältigendste Mozart-Heroine unserer Zeit. Schrankenlos, schlackenlos, mit einem Furor in Stimme und Ausdruck, der alles hinwegpustet, was sich dieser machtvollen und unbedingten Seelenentäusserung in den Weg stellt. Sei es als Vitellia in „La clemenza di Tito“ am Theater an der Wien (Foto), sei es als von Furien gejagte Elettra in „Idomeneo“ bei den Salzburger Festspielen. „Nun steht sie da in ihrem anthrazitfarbenen Kleid auf der leeren Riesenbühne der Felsenreitschule, ganz allein mit sich un ihren Gefühlen und weiss sich nicht anders zu helfen, als diese ganze Not zu entladen. Aber wie! Schon das Accompagnato-Rezitativ „O smania!“ brodelt bei Nicole Chevalier in jedem Ton so intensiv wie ein Vulkan, der kurz davor ist, Lavabrocken in die Luft zu spucken. In der anschliessenden c-Moll-Arie „D’Oreste, d’Aiace“ gibt es tatsächlich kein Halten mehr. Der Vulkan bricht aus.“ (OW 9/10 2019).