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Opera at the Castle
Opera at the Castle
The young bass Andrew Robert Munn conquers the international opera and concert stages with an elegantly guided and warm voice. For the native Californian, who also recently gained recognition as a finalist at the Innsbruck Cesti Competition, several important debuts are scheduled for the current season: In New York's Carnegie Hall and at Stanford University's Bing Concert Hall, he will appear as soloist in the world premiere of Zhou Long's scenic oratorio Men of Iron and the Golden Spike, followed by his first recital in Paris. Andrew will also debut with Deutsche Oper Berlin in Chaya Czernowin’s Heart Chamber and return to Opera na Zamku and the Silesian Opera in Poland as Frère Laurent in Gounod’s Romèo et Juliette. To round out a season of firsts, he will make his Scandinavian debut in Salome with the Malmö Symphony under Robert Trevino in May.
After completing his studies at the famous Juilliard School in New York, the student of Dawn Upshaw and Sanford Sylvan moved to Berlin in 2018. During his first season in Europe, he appeared as Seneca in Monteverdi's L'incoronazione di Poppea, as Inspector and Uncle Albert in Philip Glass' The Trial (based on Kafka's novel of the same name) and as Sarastro in Mozart's Magic Flute. In 2019, he founded the duo+ and collaboration hub Chimera with long-time collaborator pianist Rami Sarieddine. They presented recitals in Abu Dhabi, Athens, Berlin, and Cyprus, performing repertoire including Purcell, Schubert, Wolf, Barber, and world premieres of works composed for the duo+ by Andys Skordis and Conrad Winslow.
Passion and a deep sense of social and ecological responsibility have propelled Andrew on an unconventional artistic, and at times activist, path. Following his undergraduate studies at the University of Michigan he moved to the coalfields of Appalachia, where from 2008 to 2014 he organized movements for climate justice. His activist work influences his artis-tic inquiry into social and ecological questions alongside leading young composers. He is the librettist and leading soloist for composer Nina C. Young’s forthcoming Making Tellus, an operatic meditation on the advent of our human-made geologic epoch, the Anthropocene. Nate May composed the dramatic song cycle Dust in the Bottomland, about the intersec-tion of opioid addiction and ecological decay in rural America, for Andrew in 2014. His dual role as librettist and performer extends into more traditional themes as well. With com-poser and 2019 Guggenheim Fellow Matthew Ricketts, Andrew is adapting Miguel Cervan-tes’ second Don Quixote novel for the operatic stage in Don Quixote2.
Prior to crossing the Atlantic, Andrew was a 2018 Gerdine Young Artist at Opera Theatre of Saint Louis, where he sang Doctor Grenvil in Verdi's La Traviata and Specialist Swanson in the world premiere of Huang Ruo's An American Soldier. 2017 saw his Lincoln Center debut with Juilliard Opera under the direction of Laurence Cummings in Handel's Agrippina. Additional operatic roles include Dr. Cajus and Falstaff in Die Lustigen Weiber von Windsor by Otto Nicolai; Rocco in Beethoven’s Fidelio, Gremin in Tchaikovsky’s Eugene Onegin, The Lion in Oliver Knussen’s Higglety Pigglety Pop!, and Beethoven in the world stage premiere of Steven Stucky’s and Jeremy Denk’s The Classical Style.
In concert, Andrew has performed Mozart’s Requiem under the baton of Ádám Fischer, Haydn’s Die Schöpfung with the American Symphony Orchestra under Leon Botstein, Handel’s Messiah with Mr. Botstein’s The Orchestra Now, Rossini’s Stabat Mater with The Orchestra of the Triangle, and Jesus in Bach’s Johannes Passion with Cathedral of All Saints and Handel and Haydn Society. He debuted at Merkin Concert Hall in New York Festival of Song's acclaimed program of politically inspired music, Protest! with pianist Steven Blier in February 2018. He was a Vocal Fellow at the Tanglewood Music Center in 2017, where he was featured as a soloist in Bach's Liebster Jesu mein Verlangen conducted by John Harbison, excerpts from Heinrich Schütz's Symphoniae Sacrae, as well as in recital programs.
Andrew’s dual fascination with classic texts and the process of social change stem from his upbringing as the son of two historians and classical archeologists. He was born in Palo Alto, California, and as a young child spent summers in Greece where his parents directed an excavation. They encouraged his musical education as a trumpet player and choral singer in the State College, Pennsylvania public school district.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
Fine work is also done by several "Gerdine Young Artists" [...] and Andrew Munn as the Doctor.
Broadway World, May 2018
The trio of Fates play a key role in the opera--in particular their aria, "Quelle soudaine horreur," with its shifting harmonies, warning Theseus of troubles ahead--and tenor Charles Sy, baritone Xiaomeng Zhang and bass Andrew Munn knocked it out of the park.
Broadway World, April 2018
In a bit of luxury casting, the roles of the three Fates went to tenor Charles Sy, baritone Xiaomeng Zhang [...] and bass Andrew Munn. Their trio was a highlight of the evening.
Voce di Meche, April 2018
Another very powerful song was the ballad "Joe Hill", written by Alfred Hayes and Earl Robinson and performed with great depth of feeling by bass Andrew Munn who drew on his real life experience in Appalachia to give the song a very present quality that struck us right in the gut.
Voce di Meche, March 2018
The scene-stealer was Mr. Munn, (…) he then proved to have an impressive, full bass with pleasing low notes.
Superconductor, February 2018
Andrew Munn’s sonorous bass and sensitive phrasing were put on particularly good display.
The Huffington Post August 2, 2016
Sonorous bass Andrew Munn made a moody and gawky Beethoven… Audience response was highly enthusiastic.
Aspen Times, August 4, 2015
Andrew Munn’s rich, velvety bass is a delightful presence.
Louisville Public Media May 24, 2014
|L. van BEETHOVEN||Fidelio||Rocco, 2nd Prisoner|
|J. DOVE||Flight||Immigration Officer|
|P. GLASS||The Trial||Uncle Albert, Inspector|
|C. GOUNOD||Roméo et Juliette||Frère Laurent|
|G. F. HANDEL||Agrippina||Claudio, Lesbo|
|O. KNUSSEN||Higglety Pigglety Pop!||The Lion, the Ash Tree|
|C. MONTEVERDI||L'incoronazione di Poppea||Seneca, Famigliari|
|W. A. MOZART||The Magic Flute||Sarastro|
|Le Nozze di Figaro||Figaro, Bartolo (Scenes)|
|Don Giovanni||Leporello, Masetto, Il Commendatore (Scenes)|
|O. NICOLAI||Die Lustigen Weiber von Windsor||Sir John Falstaff|
|H. PURCELL||The Tempest||Prospero (Scenes)|
|King Arthur||Cold Genius|
|J.-P. RAMEAU||Hippolyte et Aricie||Third Fate|
|G. ROSSINI||Aureliano in Palmira||Gran Sacerdote, Un Pastore|
|H. RUO||An American Soldier||Military Judge, Pinkerton, Haldemann|
|R. STRAUSS||Salome||5th Jew|
|S. STUCKY||The Classical Style||Beethoven|
|P. I. TSCHAIKOWSKY||Eugen Onegin||Gremin, Zaretsky|
|G. VERDI||La Traviata||Dottore Grenvil|
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|J. S. BACH||Johannes-Passion||Jesus|
|Mass in b minor|
|Cantatas 12, 32, 172|
|L. v. BEETHOVEN||Mass in C Major|
|G. F. HANDEL||Messiah|
|J. HAYDN||Die Schöpfung||Raphael|
|C. MONTEVERDI||Ab aeterno ordinata sum|
|W. A. MOZART||Requiem|
|Concert Arias for Bass|
|G. ROSSINI||Stabat Mater|
|H. SCHÜTZ||Fili mi Absalom|
|more... less / top|