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Thomas Meglioranza (born October 7, 1970, New York, New York) is an American operatic baritone of Thai, Italian and Polish heritage.

Meglioranza grew up in the northern New Jersey towns of Teaneck and Wayne. He began taking voice lessons at Grinnell College, and earned a MM from the Eastman School of Music. He is an alum of the training programs at the Aspen, Tanglewood, Bowdoin, Pacific Music Festivals and the Ravinia Festival's Steans Institute, and has been a participant at the Marlboro Music Festival. He has studied with Elizabeth Mannion, Carol Webber, Beverley Peck Johnson, and Fred Carama.

He was a winner of the 2002 Joy in Singing Competition, the 2002 Concert Artists Guild Competition, the 2003 Franz Schubert/Music of Modernity Competition in Graz, and the 2005 Walter Naumburg Competition, and is a frequent recitalist (most often with pianist Reiko Uchida). He is known for his unusual recital programs (e.g. Schoenberg and His American Pupils Cabaret), but also for talking to audiences from the stage[1]. In 2007, he and Uchida recorded a CD of songs by Franz Schubert. In 2009 he was appointed Visiting Artist in Voice at the Longy School of Music in Cambridge, Massachusetts.

He sings a great deal of contemporary music, including the 2008 Tanglewood premiere of John Harbison's Symphony no. 5 with the Boston Symphony, and is particularly associated with the music of Milton Babbitt, Aaron Jay Kernis, Charles Wuorinen, Derek Bermel, Jorge Martín, and John Adams.

His operatic repertoire includes Mozart's Count Almaviva and Don Giovanni, as well as many roles in modern works such as Chou En-Lai in John Adams' Nixon in China, Prior Walter in Peter Eötvös' Angels in America, and the title role in Gordon Shi-Wen Chin's Mackay─The Black Bearded Bible Man.

External links

References

  1. ^ [1].
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Thomas Meglioranza (born October 7, 1970, New York, New York) is an American operatic baritone.

Meglioranza was born to an American father of Italian-Polish descent and a Thai mother.[1] [2][3] Meglioranza grew up in the northern New Jersey towns of Teaneck and Wayne. He began taking voice lessons at Grinnell College, and earned a MM from the Eastman School of Music. He is an alum of the training programs at the Aspen, Tanglewood, Bowdoin, Pacific Music Festivals and the Ravinia Festival's Steans Institute, and has been a participant at the Marlboro Music Festival. He has studied with Elizabeth Mannion, Carol Webber, Beverley Peck Johnson, and Fred Carama.

He was a winner of the 2002 Joy in Singing Competition, the 2002 Concert Artists Guild Competition, the 2003 Franz Schubert/Music of Modernity Competition in Graz, and the 2005 Walter Naumburg Competition, and is a frequent recitalist (most often with pianist Reiko Uchida). He is known for his unusual recital programs (e.g. Schoenberg and His American Pupils Cabaret), but also for talking to audiences from the stage[4]. In 2007, he and Uchida recorded a CD of songs by Franz Schubert. In 2009 he was appointed Visiting Artist in Voice at the Longy School of Music in Cambridge, Massachusetts.

He sings a great deal of contemporary music, including the 2008 Tanglewood premiere of John Harbison's Symphony no. 5 with the Boston Symphony, and Peter Maxwell Davies' Eight Songs for a Mad King, and is particularly associated with the music of Milton Babbitt, Aaron Jay Kernis, Charles Wuorinen, Derek Bermel, Jorge Martín, and John Adams.

His operatic repertoire includes Mozart's Count Almaviva and Don Giovanni, as well as many roles in modern works such as Chou En-Lai in John Adams' Nixon in China, Prior Walter in Peter Eötvös' Angels in America, and the title role in Gordon Shi-Wen Chin's Mackay─The Black Bearded Bible Man.

External links

References

  1. ^ American Bach Soloists - Thomas Meglioranza, retrieved April 12, 2010
  2. ^ [www.schubertsocietyusa.org/documents/Vol61.doc Advisory Board News], SSUSA Newsletter, Vol. 6, No. 1, 2008
  3. ^ Scaling the heights, Thanong Khanthong, December 1, 2007, The Nation
  4. ^ With Playful Wit, Thomas Meglioranza Shares His Old Favorites, Steve Smith, July 26, 2006, New York Times

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