© Markus Burke
Caspar Singh
Tenor
At 21 Caspar was invited to join the Opera Studio at the Bayerische Staatsoper, making his stage debut in 2018 under Asher Fisch. Now embarking on his second season as a member of the Bayerische Staatsoper's ensemble, 2021-22 sees him performs Gherardo Gianni Schicci, Pásek Cunning Little Vixen, Arturo Lucia di Lammermoor, Dritter Knappe Parsifal, Dominik in Haas’s Thomas and Hirte Tristan und Isolde. Outside Munich this season, Caspar's engagements include his house and role debut as Tamino Die Zaubeflöte at the Komische Oper Berlin and Male Chorus The Rape of Lucretia with the Kammerakademie Potsdam. Looking further ahead, in 2022-23 Caspar will join the ensemble of the Komische Oper Berlin.
News
Role debut in Potsdam
We are delighted to announce that Caspar Singh makes his role debut this autumn as Male Chorus in the Kammerakademie Potsdam's production of The Rape of Lucretia as part of the Potsdamer Winteroper season. The production is directed by Isabelle Ostermann and conducted by Douglas Boyd. Joining Caspar in the cast are Kate Royal, Robert Hayward, Richard Burkhard, Seán Boylan, Caitlin Hulcup, Kathleen Wilkinson and Fflur Wyn. The production opens at the Schlosstheater Potsdam on 12 November, with further performances on 13, 20, 21, 27 and 28 November.
Caspar will then return to Munich to complete his final season as a member of the ensemble of the Bayerische Staatsoper. The 2022/23 season will see Caspar taking up residence as a member of the ensemble of the Komische Oper.
Further info via the link here.
Posted 09/11/21.
Media
Repertoire Includes
Concert
BACH
Easter Oratorio
BRITTEN
St Nicholas
The Seven Sonnets Of Michelangelo
Winter Words
BRUCKNER
Te Deum
DVORAK
Mass In D
Stabat Mater
HANDEL
Messiah
HAYDN
Die Schöpfung
Nelson Mass
MOZART
Requiem
ORFF
Carmina Burana
RHEINBERGER
Mass in C
SCHUBERT
Die Schöne Müllerin
Winterreise
SCHUMANN
Dichterliebe*
STAINER
The Crucifixion
* in preparation
Opera
HANS ABRAHAMSEN
The Snow Queen (Prince)
BEETHOVEN
Fidelio (First Prisoner)
DONIZETTI
L’elisir d’amore (Nemorino)*
Lucia di Lammermoor (Arturo)
GLUCK
Alceste (Coryphaeus)
HAAS
Thomas (Dominik)
MONTEVERDI
Il ritorno d'Ulisse in Patria (Amphinomus)
MOZART
Cosi fan tutte (Ferrando)
Die Entführung Aus Dem Serail (Belmonte)*
Die Zauberflöte (Tamino)
Don Giovanni (Ottavio)*
Idomeneo (Oberpriester Poseidons)
POULENC
Dialogues des Carmélites (L'Aumônier)
PUCCINI
Manon Lescaut (Edmondo)
RAMEAU
Castor et Pollux (Castor)
STRAUSS, R.
Capriccio (Italian Tenor)
Ariadne auf Naxos (Scaramuccio)
Der Rosenkavalier (Italian tenor)*
Der Rosenkavalier (von Faninal's Major-Domo)
TCHAIKOVSKY
Iolanta (Almeric)
Eugene Onegin (Lensky)*
Eugene Onegin (Vorsänger)
THOMAS
Mignon (Wilhelm Meister)
Verdi
La Traviata (Alfredo)*
La Traviata (Giuseppe)
La Traviata (Gastone)
Rigoletto (Borsa)
Il Trovatore (Un Messo)
Les Vêpres Siciliennes (Mainfroid)
WAGNER
Die Meistersinger (Augustin Moser)
Tristan und Isolde (Melot/Ein junger Seemann)
Parsifal (Dritte Knappe)
Lohengrin (Erste Brabantische Edle)
* in preparation
Press
thomas MIGNON / Bayerische Staatsoper, Munich
“Caspar Sing als Wilhelm Meister zeigt nicht nur hier, dass er ein schönes Timbre mit weichen Piani, aber auch durchschlagenden Höhen besitzt."
"Caspar Singh as Wilhelm Meister shows not only here that he has a beautiful timbre with soft piani, but also striking highs.”
Susanne Kittel-May, Online Merker (September 2020)
"Caspar Singh, er singt seine aberwitzige Partie ohne jede Anstrengung, ist als Wilhelm Meister ein vom Theaterleben und besonders den Künstlerinnen faszinierter Intellektueller, der genau weiß, dass er nie zum fahrenden Volk gehören wird."
"Caspar Singh, who sings his ludicrous part effortlessly, is as Wilhelm Meister an intellectual who is fascinated by theater life and especially the artists, who knows for sure that he will never belong to the travelling people."
Reinhard J. Brembeck, Süddeutsche Zeitung (September 2020)
"Caspar Singh sieht nicht nur wie ein erste Bühnenluft schnuppernder Intellektueller aus, er singt die Musik auch mit einem für französische Opern idealen schlanken, hellen und höhensicheren Tenor."
"Caspar Singh not only looks like an intellectual who sniffs the air on stage, he also sings the music with a slim, bright tenor that is ideal for French operas."
Robert Braunmüller, Abendzeitung-München (September 2020)
Wagner LOHENGRIN / Bayerische Staatsoper, Munich
“Lastly, the four noble Brabanters show as always the excellence of the supporting roles at the Bayerische Staatsoper, and deserve to be cited: Caspar Singh, George Virban, Oğulcan Yılmaz, Markus Suihkonen”.
Guy Cherqui, Wanderer (December 2019)
Handel MESSIAH / Staatstheater am Gärtnerplatz, Munich
“Worthy of highlighting is Caspar Singh. The tenor jumped in at short notice for Alexandros Tsilogiannis (who walked his part on the stage). From the orchestra pit, his smooth lyrical voice rises to every height; his words sung with conviction and clarity.”
Helmut Pitsch, Opera Online (October 2019)
“As a step-in for the indisposed Alexandros Tsilogiannis, Caspar Singh was brought from the opera studio at the Staatsoper. His astonishingly well-formed tenor, already well-developed beyond Baroque repertoire, demonstrates what a great catch the sister theater on Max-Joseph-Platz has snagged”
Markus Thiel, Münchner Merkur (October 2019)
“Tenor Alexandros Tsilogiannis has no voice so only acts his part. His voice is lent to him from the orchestra pit by Caspar Singh from the opera studio of the Bayerische Staatsoper “next door”. It’s a pity for Tsilogiannis, but as a viewer and listener I personally think the two mastered the difficult situation perfectly”
Andreas Schmidt, Klassik begeistert (October 2019)
Haydn DIE SCHÖPFUNG/ Bayerische Staatsorchester
“Archangel Uriel (Caspar Singh) let the sun gently ascend with a beautiful, velvety tenor voice, “In vollem Glanze steiget jetzt die Sonne strahlend au.”
Regina Wahl-Geiger, Münchner Merkur (July 2019)
Strauss CAPRICCIO / Garsington Opera
“The Italian singers, Nika Gorič (soprano) and Caspar Singh (tenor) relished the straight-faced parody of their bel canto divertissement, and offered a playful counterpart to the company’s philosophising”
Claire Seymour, Opera Today (June 2018)
“The Italian singers, in the persons of Nika Gorič and Caspar Singh, gave perfect examples of their director’s favourite art.”
Melanie Eskenazi, Music OMH (June 2018)
