Baritone

Alexander York

Alexander York als Papageno:

"Alexander York als Papageno . . . mit seinem Extra-Heurigenlied auf den Wein, und mit dem Zauberglöckchen als symbolischer Gitarre über die Bühne rockend gab es für ihn Extra-Jubel." [Alexander York… to all reviews

Biography

In his second season in the ensemble of Landestheater Linz (2024/2025), Alexander York will sing Papageno in François de Carpentries' new production of Zauberflöte, Leuthold in Guillaume Tell, Badger in The Cunning Little Vixen, Yamadori in Madama Butterfly, and Adam in the world premiere of Mike Svoboda's Adam und Eva.

In September 2023, American baritone Alexander York joined the soloist ensemble at Landestheater Linz in Austria. In his first year as a fest singer, he sang Silvio in Leoncavallo’s I Pagliacci, Ruggiero in Halévy’s La juive, Kilian and Ottokar in Der Freischütz, and Fiorello and Ambrogio in Il barbiere di Siviglia. Additional credits include the world premiere of Febel’s Benjamin Button and a rare performance of Oberleithner’s Der eiserne Heiland.

Previous to joining the ensemble in Linz, York was seen as Ned Keene in Staatstheater Augsburg's Peter Grimes, Escamillo in Andrea Bernard's adaptation of Carmen at Opéra Grand Avignon, and as Schaunard in La bohème under the baton of James Gaffigan at the Verbier Festival in Switzerland. In October 2022, he joined the Opéra de Paris for a series of concerts in Tokyo. This past summer, he was seen as Conte Almaviva in Le nozze di Figaro at the Musica Le Mans Festival in Le Mans, France.

In the January 2021 edition of Opéra Magazine, York was profiled as a "Jeune Talent" [young talent]. In September 2020, he was awarded the City of Gordes Prize as well as the Best Young Baritone or Bass Prize at the International Competition of Art Song [Concours international de la mélodie] in Gordes, France.

From 2018-2021, York was a member of the opera studio of the Opéra national de Paris. Highlights of his work there include singing Tarquinius in Britten's Rape of Lucretia, Dr. Falke in Die Fledermaus, and the Horloge comtoise and Le chat in Ravel’s L'Enfant et les Sortilèges and recitals at the Palais Garnier, in Évian-les-Bains, Amiens, Metz, and Grenoble.

York made his Bayerische Staatsoper debut in 2018 in Viktor Ullmann's Der zerbrochene Krug as the Bedienter. In 2017, he sang the role of James Ramsey in the world premiere of Zesses Seglias' To the Lighthouse at the Bregenz Festival. 

​In his first two years in Europe, York was a fixture of the opera stage at Theater Augsburg -- firstly, making his European debut as Belcore in L’elisir d’amore in 2016; secondly, as a scholarship-holding member of the 2016-17 soloist ensemble, playing Angelotti and Sciarrone in Tosca, the Captain in Karl Amadeus Hartmann's Simplicius Simplicissimus, Weickmann/Fuhrmann in Hans Thomalla's Kaspar Hauser, and as the Herald in Verdi's Otello; and most recently, singing the German premiere of Kelvin (Off stage) in Dai Fujikura’s Solaris

In addition to his operatic pursuits, York studied German, French, and Slavic Lied repertoire at the Munich University of Music and Theater Arts under the tutelage of Lars Woldt, Rudi Spring, Donald Sulzen, and Andreas Schmidt. In June 2023, York presented a recital entitled "Americans in Paris" with the pianist Daan Boertien at the American Cathedral of Paris. The concert was a culmination of years of research into the American composers who either studied, taught, or lived in Paris during the 20th Century. In January 2023, York collaborated with Edward Liddall to create "Les Dons d'Espagne" [The Spanish Dons], which highlighted the fabulous and fantastical music written about Don Quixote and Don Juan over the centuries.

York was a 2016 winner of the prestigious Fulbright Research Grant, a 2017 winner of the Hanns-Seidel Foreign Student Grant, and has been supported by the arte-Musica Foundation in Frankfurt.

As a concert artist in Europe, York has sung a solo recital at the Muziekgebouw in Amsterdam, performed with the Munich Radio Orchestra, and joined the Heidelberg Philharmonic to sing the bass solos in Bach's Weihnachtsoratorium. Recently, he appeared with the Jewish Chamber Orchestra Munich in a concert of Mahler's 14 Lieder und Gesänge and sang a Liederabend in the Hamburg Art Museum. Equally at home in the new music scene, York recently gave the world premiere of Rudi Spring's Augenblicke des Abschieds, a song cycle for baritone and hammered dulcimer. Last June he sang the bass solos and Jesus in Bach’s St. John Passion and the bass solos in Rossini’s Petite messe solennelle in Paris.

In 2017, he took part in the Excellence in Voice/Opera masterclass led by Hedwig Fassbender in Weikersheim, Germany and the IMAS masterclass with Lars Woldt in Bückeburg, Germany.

Before making his way to Europe, York made the rounds in the American summer festival scene. As a Fellowship recipient at the Aspen Opera Center in 2016, he performed as Snooks in William Bolcom’s A Wedding and was seen in masterclass with Renée Fleming. As an Apprentice Artist with Central City Opera in 2015, York jumped in on one day’s notice to sing Cervantes/Don Quixote in Mitch Leigh’s Man of La Mancha, performed Baron Duphol in La Traviata, and received the prestigious John Moriarty Award for collegiality and service to the company.

During his graduate studies at Northwestern University, York performed the Count Almaviva in Le nozze di Figaro, Joseph DeRocher in the Chicago-area premiere of Jake Heggie’s Dead Man Walking, Sam in Bernstein’s Trouble in Tahiti, and Overtop in Michael Ehrmann's modern adaptation of Mozart's Der Schauspieldirektor.

He was awarded a Luminarts Fellowship, a Bel Canto award from the Bel Canto Society of Chicago, and was the runner up in the Art Song/Oratorio division of the American Prize. York is a 2014 graduate of Lawrence University in Wisconsin, where he was seen as Sid in Albert Herring, Harry Easter in Street Scene, and Cinderella’s Prince in Into the Woods.

Upon joining the Académie in Paris, York received the Richard F. Gold Career Grant.

Repertoire

Opera/Operetta

Composer, Work

Composer

Opera/Operetta

Part

H. Berlioz, Béatrice et Bénédict

H. Berlioz

Béatrice et Bénédict

Claudio

L. Bernstein, Candide

L. Bernstein

Candide

Maximilian*

L. Bernstein, Candide

L. Bernstein

Candide

King of El Dorado

L. Bernstein, Trouble in Tahiti

L. Bernstein

Trouble in Tahiti

Sam

G. Bizet, Carmen

G. Bizet

Carmen

Escamillo

G. Bizet, Carmen

G. Bizet

Carmen

Morales*

W. Bolcom, A Wedding

W. Bolcom

A Wedding

Snooks

B. Britten, Albert Herring

B. Britten

Albert Herring

Sid

B. Britten, Billy Budd

B. Britten

Billy Budd

Billy Budd*

B. Britten, Midsummer Night's Dream

B. Britten

Midsummer Night's Dream

Demetrius*

B. Britten, Peter Grimes

B. Britten

Peter Grimes

Ned Keene

B. Britten, Rape of Lucretia

B. Britten

Rape of Lucretia

Tarquinius

M. Da Falla, El retablo de Maese Pedro

M. Da Falla

El retablo de Maese Pedro

Don Quixote

G. Donizetti, Don Pasquale

G. Donizetti

Don Pasquale

Malatesta*

G. Donizetti, L'elisir d'amore

G. Donizetti

L'elisir d'amore

Belcore

R. Febel, Benjamin Button

R. Febel

Benjamin Button

Zweite Zeitungsjunge

C. W. Gluck, Iphigenie en Tauride

C. W. Gluck

Iphigenie en Tauride

Oreste*

C. Gounod, Roméo et Juliette

C. Gounod

Roméo et Juliette

Gregorio

C. Gounod, Roméo et Juliette

C. Gounod

Roméo et Juliette

Mercutio*

F. Halévy, La juive

F. Halévy

La juive

Ruggiero

K. A. Hartmann, Simplicius Simplicissimus

K. A. Hartmann

Simplicius Simplicissimus

Hauptmann

G. F. Händel, Ariodante

G. F. Händel

Ariodante

Polinesso

J. Heggie, Dead Man Walking

J. Heggie

Dead Man Walking

Joseph DeRocher

R. Leoncavallo, I Pagliacci

R. Leoncavallo

I Pagliacci

Silvio

J. Massenet, Manon

J. Massenet

Manon

Lescaut*

J. Massenet, Werther

J. Massenet

Werther

Albert*

W. A. Mozart, Così fan tutte

W. A. Mozart

Così fan tutte

Guglielmo*

W. A. Mozart, Don Giovanni

W. A. Mozart

Don Giovanni

Don Giovanni*

W. A. Mozart, Le nozze di Figaro

W. A. Mozart

Le nozze di Figaro

Figaro*

W. A. Mozart, Le nozze di Figaro

W. A. Mozart

Le nozze di Figaro

Il conte d'Almaviva

W. A. Mozart, Die Zauberflöte

W. A. Mozart

Die Zauberflöte

Erster Priester*

W. A. Mozart, Die Zauberflöte

W. A. Mozart

Die Zauberflöte

Papageno

G. Puccini, La bohème

G. Puccini

La bohème

Schaunard

G. Puccini, La fanciulla del West

G. Puccini

La fanciulla del West

Happy*

G. Puccini, Madama Butterfly

G. Puccini

Madama Butterfly

Sharpless*

G. Puccini, Madama Butterfly

G. Puccini

Madama Butterfly

Yamadori*

G. Puccini, Tosca

G. Puccini

Tosca

Angelotti

G. Puccini, Tosca

G. Puccini

Tosca

Sciarrone

H. Purcell, Dido and Aeneas

H. Purcell

Dido and Aeneas

Aeneas*

H. Purcell, Fairy Queen

H. Purcell

Fairy Queen

Oberon

M. Ravel, L'Enfant et les Sortilèges

M. Ravel

L'Enfant et les Sortilèges

Le Chat

M. Ravel, L'Enfant et les Sortilèges

M. Ravel

L'Enfant et les Sortilèges

L'Horloge

G. Rossini, Il barbiere di Siviglia

G. Rossini

Il barbiere di Siviglia

Fiorello

Z. Seglias, To the Lighthouse

Z. Seglias

To the Lighthouse

James Ramsey

R. Strauss, Ariadne auf Naxos

R. Strauss

Ariadne auf Naxos

Harlekin*

J. Strauss, Die Fledermaus

J. Strauss

Die Fledermaus

Dr. Falke

H. Thomalla, Kaspar Hauser

H. Thomalla

Kaspar Hauser

Weikmann/Fuhrmann

G. Verdi, Otello

G. Verdi

Otello

Un heraldo

G. Verdi, La traviata

G. Verdi

La traviata

Barone Douphol

G. Verdi, La traviata

G. Verdi

La traviata

Giorgio Germont

R. Wagner, Tannhäuser

R. Wagner

Tannhäuser

Wolfram von Eschenbach*

C. M. von Weber, Der Freischütz

C. M. von Weber

Der Freischütz

Kilian

C. M. von Weber, Der Freischütz

C. M. von Weber

Der Freischütz

Ottokar

K. Weill, Street Scene

K. Weill

Street Scene

Harry Easter

*not yet performed on stage

Oratorio

Composer, Work

Composer

Work

Part

J. S. Bach, Johannespassion

J. S. Bach

Johannespassion

Bass and Jesus Recits

J. S. Bach, Weihnachtsoratorium

J. S. Bach

Weihnachtsoratorium

Bass

J. Brahms, Ein deutsches Requiem

J. Brahms

Ein deutsches Requiem

Baritone*

G. F. Händel, Messiah

G. F. Händel

Messiah

Bass

G. Rossini, Petite messe solennelle

G. Rossini

Petite messe solennelle

Bass

*not yet performed on stage

Reviews

Alexander York als Papageno:

"Alexander York als Papageno . . . mit seinem Extra-Heurigenlied auf den Wein, und mit dem Zauberglöckchen als symbolischer Gitarre über die Bühne rockend gab es für ihn Extra-Jubel." 

[Alexander York as Papageno, with his extra drinking song and with the Glockenspiel as a symbolic guitar rocking across the stage, received extra jubilation.]

Salzburger Nachrichten, September 2024

 

"Dem Papageno von Alexander York merkt man bei seinen ausgedehnten Dialogstellen die US-amerikanische Herkunft kaum an – manches geht schon ins wienerisch-Deutsche! Nota bene war ja Schikaneder auch ein  Abgesehen davon läßt er seine hervorragende Stimme strahlen und ist auch komödiantisch eine Spitzenbesetzung dieser Rolle." 

[In the extended dialogues of Alexander York's Papageno, one barely perceives his American roots - sometimes he even slips into Viennese German! Note that Schikaneder was himself also a foreigner. Beyond that, he lets his outstanding voice shine out and is also comedically a top-casting for this role.]

Online Merker, September 2024

 

"Der heimliche Star des Abends ist Alexander York, der seine Rolle als Papageno schauspielerisch wie sängerisch überzeugend präsentiert." 

[The secret star of the night is Alexander York, who convincingly acts and sings the role of Papageno.]

Passauer Neue Presse, September 2024

 

"Alexander York ist als Papageno gesanglich und darstellerisch vortrefflich." 

[Alexander York's Papageno is sung and acted sublimely.]

Kronen Zeitung, September 2024

Weihnachtsoratorium, Heidelberger Symphoniker, Bass

Sehr lyrisch, mit schlankem, biegsamem Bariton, klangschön strömend, erfüllte Alexander York die Bassarien. [Alexander York imbued the bass arias very lyrically, with a trim, limber, and beautifully-flowing baritone.]

Rhein-Neckar Zeitung, December 2017

To the Lighthouse, Bregenzer Festspiele, James Ramsey

"Gesanglich und artikulatorisch überzeugte vor allem . . . Alexander York als erwachsener James Ramsay" [In particular, Alexander York was convincing with his singing and articulation as the grown-up James Ramsay]

Frankfurter Allgemeine Zeitung, August 2017

Die Fledermaus, Opéra de Paris, Dr. Falke

[D]élicieusement manipulateur en docteur Falke, Alexander York se distingue par son souffle équilibré et son phrasé élégant, lançant idéalement le célèbre « Brüderlein » [Deliciously manipulative as Doctor Falke, Alexander York distinguishes himself through his well-balanced breath flow and his elegant phrasing, launching ideally the famous "Brüderlein"]

Bachtrack, March 2019

Liederabend, Opéra de Paris

“C'est toutefois le baryton Alexander York qui se mesure à la pièce de bravoure du programme : les Neue Alexanderlieder de Wolfgang Rihm .... Le chant passe d'une lenteur funèbre (que le chanteur ne rend jamais empesée) à une explosion vocale tonnante (assumée) basculant en voix de tête (guidée) [La] voix est opulente, large en assise et vibrato, emplissant l'acoustique sans noyer les articulations.” [In any case, it is the baritone, Alexander York, who measures up to the hardest piece of music in the program: The Neue Alexanderlieder of Wolfgang Rihm.... The singing travels from a mournful slowness (which the singer never lets become stiff) to a thundering vocal explosion (engaged) rocking into the head voice (well-guided). The voice is opulent, well placed and well-vibrated, filling the space without losing the articulation.”]

Ôlyrix, July 2019

Concert, Opéra de Paris, Don Giovanni

"Toute la scène de la mort de Don Giovanni met pleinement en valeur le baryton, Alexander York. Physique de séducteur, sourire carnassier, il maîtrise sans conteste la partie vocale du personnage." [The entire scene of Don Giovanni's death highlighted the baritone, Alexander York. With the physicality of a seducer and a carnivorous smile, he mastered without question the vocal part of the character.]

Ôlyrix, September 2020

Carmen, Opéra Grand Avignon, Escamillo

"La fraîcheur vocale du baryton Alexander York, incarnant le fier Escamillo, déploie le potentiel scénique de son jeu malicieux et amusant. La texture ronde, puissante et sonore de son chant déploie aisément son accroche." [The vocal freshness of the baritone Alexander York, who plays the proud Escamillo, exposes the scenic potential of his malicious and humorous acting. The texture of his round, strong, and sonorous voice easily hooks in.]

Ôlyrix, January 2022

La juive, Landestheater Linz, Ruggiero

Vokal enorm potent und wie alle Sänger und auch das Regieteam bejubelt: Alexander York als Großvogt Ruggiero. [Enormously vocally potent and celebrated with all the singers and direction team alike was Alexander York as City Provost.]

Der Standard, March 2024

<i>Liederabend, Opéra de Paris</i>

“C'est toutefois le baryton Alexander York qui se mesure à la pièce de bravoure du programme : les Neue Alexanderlieder de Wolfgang Rihm .... Le chant passe d'une lenteur funèbre (que le chanteur ne rend jamais empesée) à une explosion vocale tonnante (assumée) basculant en voix de tête (guidée) [La] voix est opulente, large en assise et vibrato, emplissant l'acoustique sans noyer les articulations.” [In any case, it is the baritone, Alexander York, who measures up to the hardest piece of music in the program: The Neue Alexanderlieder of Wolfgang Rihm.... The singing travels from a mournful slowness (which the singer never lets become stiff) to a thundering vocal explosion (engaged) rocking into the head voice (well-guided). The voice is opulent, well placed and well-vibrated, filling the space without losing the articulation.”]

<i>www.olyrix.fr</i>, December 2024

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