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Biography  Samuel Levine is a radical voice in opera. The “wonderfully appealing,” “ardent tenor” (The New York Times) regularly performs new and contemporary works to great acclaim, while collaborating with cutting-edge directors and presenters to explore new ways of performing the standard repertory.  His performances are distinguished b...read more

Representation details:

Jeffrey Larson

Biography  Samuel Levine is a radical voice in opera. The “wonderfully appealing,” “ardent tenor” (The New York Times) regularly performs new and contemporary works to great acclaim, while collaborating with cutting-edge directors and presenters to explore new ways of performing the standard repertory.  His performances are distinguished b...read more

Representation details:

Jeffrey Larson
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  • Repertoire (29)
  • Ready to debut (4)
Composer & WorkRoleProductions
Beecher
I Have No Stories to Tell YouNoah2
Bizet
CarmenLe Remendado1
Don José1
Corigliano
The Ghosts of VersaillesLéon2

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Reviews

With his dark-toned bass-baritone, Malte Roesner excelled in the Süssmayr songs.
James Roy MacBean
The vocal ensemble is excellent. When Jelena Bankovic effortlessly screws her free-flowing soprano to the highest heights, giving it a pleasantly soft fullness even with coloratura and tone jumps, this is not only the finest art of singing, but also characterizes the caring sister Ygraine in the most beautiful way, for her little one threatened with death Brother enters. And the messengers of death are sung by the three countertenors Zvi Emanuel-Marial, Konstantin Derri and Rik Willebrords with voices so wonderfully harmonious, as in a madrigal, that one gets a feeling that the danger of death is less in fright than in devotion, in resistance-breaking Redemption lies. Samuel Levine's tenor as uncle is becoming noticeably smoother, Zenyi Hou and Dorothea Spilger add rich mezzi. Much applause and bravos in the presence of the composer
Andreas Berger

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