Adam Frandsen
Danish Tenor
Adam Frandsen
...is quickly gaining international recognition for a voice that is "Shining, effortless, and bursting with energy". He brings to you not just the beauty of operatic singing, but the silvery tonality of the nordic soul in the tradition of such immortals as Jussi Björling, Nicolai Gedda and Lauritz Melchior. Since a young boy in The Copenhagen Royal Chapel Choir, he has enthralled audiences both near and far, and continues to do so. From the continents of Asia to America, Australia, and Europe, Adam Frandsen receives great applause for his undeniable talent and for his dedication to the true art of Opera; embodying its drama, passion, character, grace and potency. So, please enjoy browsing this website and make sure to join him for some spectacular performances in 2019 and the new year 2020.
Multimedia
No, no! Turiddu!
Duet from Cavalleria Rusticana
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INTERVIEW
From Opera Australia's production of Sydney Opera House, The Opera.
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Ah! Leve-toi Soleil!
Aria from Romeo et Juliette
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Beethoven's 9th
OSPA - Spain
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Che gelida manina
Giacomo Puccini
Audition Footage from late 2018
En fermant les yeux
Jules Massenet
Audition footage from late 2018
The Magic Flute
Sung in Swedish
Trailer for the Gothenburg Opera production of Magic Flute 2017
Repertorie & performances
Below is a list of sung roles and upcoming performances
Bellini V.
La sonnambula, Elvino
Norma, Flavio
Bizet, G.
Carmen, Don Jose
Britten, B.
Owen Wingrave, Lechmere
The Turn of the Screw, Prologue
Catán, D.
Florencia en el Amazonas, Arcadio
Debussy, C.
L'enfant prodigue, Azael
Donizetti, G.
Lucia di Lammermoor, Edgardo
E. Reesen
Farinelli, Farinelli
Gounod, C.
Faust, Faust
Romeo et Juliette, Romeo
Knapik, E.
Moby Dick, Ishmael
Janacek, L.
The Cunning Little
Vixen, The Innkeeper
Jenufa, Laca
John, A.
The 8th Wonder, The Architect
Mozart, W.A.
Cosi fan tutte, Ferrando
Die Zauberflöte, Tamino
Idomeneo, Idomeneo
Offenbach, J.
Orphee aux enfers, Orphee
Pasatieri, T.
Signor Deluso, Leon
Poulenc, F.
Dialogues des Carmelites, Chaplain
Puccini, G.
Gianni Schicchi, Rinuccio
Il tabarro, Tinca
La boheme, Rodolfo
La rondine, Ruggero Lastouc
Madama Butterfly, Pinkerton
Tosca, Mario Cavaradossi
Shostakovich, D.
Moscow Cheryomushki, Sergei
Strauss, J.
Die Fledermaus, Alfred
Strauss, R.
Salome, Narraboth
Verdi, G.
La traviata, Gastone
La traviata, Alfredo
Rigoletto, Duke of Mantua
Magic Flute
April, May, June 2017
Where: Gothenburg Opera, SWE
Role: Tamino
“Come and see it and bring everyone you know,” wrote Swedish daily Dagens Nyheter’s reviewer following Die Zauberflöte’s (The Magic Flute) premiere at The Göteborg Opera in 2009.
In director RIKARD BERGQVIST’s dream play, the work’s religious theme has been toned down in favour of the story and the struggle for love. Serious content is expertly interwoven with exuberant comedy, all interpreted through Mozart’s tremendous music, packed with beauty and drama.
Conducted by Henrik Schaefer, Musical Director of The Göteborg Opera Orchestra.
Moby Dick
May 2017
Where: Polish National Opera, POL
Role: Ishmael
It’s true that whales of the humpback variety can sing, but surely opera is going too far? And yet. At the turn of the first two decades of the 21st century, in two different parts of the world, California and Silesia, this novel became the basis of two operas entitled Moby Dick, by America’s Jake Heggie (premiere in 2010) and Poland’s Eugeniusz Knapik (premiere in 2014). Knapik is a contemporary composer immune to avant-garde temptations. He has the sensitivity of a Romantic and an inclination to explore existential problems with his music. He has always been enticed by the strangeness of the world, nature and human beings. His opera Moby Dick is like a mystery play. It is a symbolic chase after something that is elusive, perfect, maybe threatening, maybe ultimate.
Lied von der Erde
June 24th, 2017
Where: Jerusalem Arts Festival Open Air, Israel
With: Mahler Chamber Orchestra
Role: Tenor Soloist
This project, which marks a joint collaboration between the Jerusalem Arts Festival and the London Arts Festival in 2017, examines the roots of European culture, its identity as a cultural concept, the way in which it has evolved, and its relationship to the rest of the world.
Mahler composed this work following the most painful period in his life, and the songs address themes such as those of living, parting and salvation. On the centenary of Mahler's birth, the composer, conductor, and known Mahler conductor Leonard Bernstein described Das Lied von der Erde as Mahler's "Greatest symphony".
Arnold Schoenberg, trying to balance his love of Gustav Mahler with a notable lack of performance funding after the First World War, took to scaling down Mahler’s orchestral song cycles for smaller forces.
After some success with Lieder eines fahrenden Gesellen, he then turned to the late composer’s final masterpiece, Das Lied von der Erde, though his sketches lay incomplete until finished by conductor Rainer Riehn in the early 1980s.
La Boheme
August 2017
Where: Opera Hedeland, DNK
Role: Rodolfo
La Bohème, the passionate, timeless, and indelible story of love among young artists in Paris, can stake its claim as the world’s most popular opera. It has a marvelous ability to make a powerful first impression and to reveal unsuspected treasures after dozens of hearings. At first glance, La Bohème is the definitive depiction of the joys and sorrows of love and loss; on closer inspection, it reveals the deep emotional significance hidden in the trivial things—a bonnet, an old overcoat, a chance meeting with a neighbor—that make up our everyday lives.
La Traviata
September 2017
Where: Kilden Opera, NOR
Role: Aflredo
La Traviata is one of the cornerstones of the operatic repertory. The score is littered with fantastics tunes that are now wildly famous but beyond that it is the coherence of the whole piece that makes it a masterpiece.
It is currently the most popular of Verdi’s operas and also one of his most distinct. The scale is far more intimate than the vast majority of his output with effective no grand historic or political elements. The opera concerns itself with social issues contemporary to Verdi, almost autobiographical in places with regard to his own relationship with Giuseppina Strepponi.
It is also the only one of Verdi’s operas to specifically take place in his own time, “about 1850”. That was his wish, though for the premiere the censors forced him to shift the period, from the contemporary to some hundred years earlier, out of fear that the morality on stage might somehow slip out from the proscenium and into the aisles...
Christmas Concerts - lille muko
December 16, 2017
Where: Holmens Kirke
Repertoire: Mixed church and popular
The Church of Holmen (Danish: Holmens Kirke) is a Parish church in central Copenhagen in Denmark, on the street called Holmens Kanal. First built as an anchor forge in 1563, it was converted into a naval church by Christian IV. It is famous for having hosted the wedding between Margrethe II of Denmark, current queen of Denmark, and Prince Henrik in 1967. It is the burial site of such notabilities as naval heroes Niels Juel and Peter Tordenskjold, and composer Niels Wilhelm Gade,[1] and contains artwork by, among others, Bertel Thorvaldsenand Karel van Mander.
New years concert - Traviata Highlights
January 5, 2018
Where: Linkoeping, Sweden
With: Oestgoeta Blåsarsymfoniker
The Östgöta Symphonic Wind Ensemble (Östgöta Blåsarsymfoniker) is based in Linköping, Sweden, and originated from a military ensemble formed in the time of Gustavus Vasa. Gradually this developed into a military band that rose to prominence in the area, especially during the first half of the 19th century when it was directed by the composer and clarinettist Bernhard Henrik Crusell. In 1971 the ensemble became a civilian organization; since 1988 it has been part of the foundation ‘Östgötamusiken’, controlled by the Östergötland county council. The ensemble’s work is concentrated in Östergötland, and for many years has given series of subscription concerts. It also makes regular guest appearances elsewhere in Sweden and abroad. The ensemble has a relatively small number of permanent members, who form a central core that is expanded when necessary by the use of freelance musicians. Every year, the Östgöta Symphonic Wind Ensemble commissions works from Swedish composers, thereby contributing to the expansion of wind music as a genre. Visit the official website of the Östgöta Symphonic Wind Ensemble
LA TRAVIATA
February and March 2018
Where: Danish National Opera, DNK
Role: Alfredo
The real wonder of this work is that regardless of the period, these characters speak to our universal nature. The plight of Violetta makes sense regardless of whether we see her as a 19th Century courtesan, a 21st Century prostitute or something else altogether!
The taut plot and vivid characters paired with Verdi’s perfectly attuned music tend to result in few dry eyes by the end of Act III.
Jenufa
April, 2018
Where: Teatr Wielki, Poland
Role: Laca
Cancelled due to illness
Jenůfa (Czech) (help·info) (Její pastorkyňa, "Her Stepdaughter" in Czech) is an opera in three acts by Leoš Janáček to a Czech libretto by the composer, based on the play Její pastorkyňa by Gabriela Preissová. It was first performed at the National Theatre, Brno on 21 January 1904. Composed between 1896 and 1902,[1] it is among the first operas written in prose.[2]
The first of Janáček's operas in which his distinctive voice can clearly be heard, it is a grim story of infanticideand redemption. Like the playwright's original work, it is known for its unsentimental realism. While today it is heard in the composer's original version, Jenůfa's early popularity was due to a revised version by Karel Kovařovic, altering what was considered its eccentric style and orchestration. Thus altered, it was well-received, first in Prague, and particularly after its Vienna première also worldwide.[3] More than 70 years passed before audiences again heard it in Janáček's original version.
Janáček wrote an overture to the opera, but decided not to use it. It was partly based on a song called Žárlivec(The jealous man). It is now performed as a concert piece under the title Žárlivost (Jealousy), JW 6/10.[4]
The composer dedicated the work to the memory of his daughter Olga (d. 1903), as he did his choral composition the Elegy on the Death of Daughter Olga.
Winterreise - tour
Various, 2018
Where: Tour of Denmark
Odense, Copenhagen, Aalborg
Winterreise (Winter Journey) is a song cycle for voice and piano by Franz Schubert (D. 911, published as Op. 89 in 1828), a setting of 24 poems by Wilhelm Müller. It is the second of Schubert's two great song cycles on Müller's poems, the earlier being Die schöne Müllerin (D. 795, Op. 25, 1823).
Both were originally written for tenor voice but are frequently transposed to suit other vocal ranges – the precedent being established by Schubert himself. These two works have posed interpretative demands on listeners and performers due to their scale and structural coherence. Although Ludwig van Beethoven's cycle An die ferne Geliebte (To the Distant Beloved) had been published earlier, in 1816, Schubert's two cycles hold the foremost place in the history of the genre.
Lucia di Lammermoor
August 2018
Where: Opera Hedeland, DK
Role: Edgardo
Donizetti wrote Lucia di Lammermoor in 1835, a time when several factors led to the height of his reputation as a composer of opera. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera".[2] Not only were conditions ripe for Donizetti's success as a composer, but there was also a European interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences.[2] Sir Walter Scott dramatized these elements in his novel The Bride of Lammermoor, which inspired several musical works including Lucia.[3]
The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 17th century.
Rigoletto
Sept. 2018
Where: Galaksen, DK
Role: Duca di Mantova
Rigoletto (pronounced [riɡoˈletːto]) is an opera in three acts[1] by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piavebased on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.
It is widely considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's beautiful daughter Gilda. The opera's original title, La maledizione(The Curse), refers to a curse placed on both the Duke and Rigoletto by a courtier whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father.
Jenufa
Nov-Dec. 2018
Where: Opera, Národní divadlo Brno, CZ
Role: Laca
Cancelled in connection with previous performances in Poland
New Years Gala Concerts
January, 2019
Where: Tour of Denmark
Repertoire: Opera and Song Highlights
Randers Kammerorkester is Denmark's only permanent, professional chamber orchestra, performing around 120 concerts per year. Its repertoire includes orchestra and chamber orchestra concerts in Randers and the rest of Denmark, castle concerts, school concerts and regular broadcasts on Denmark's Radio, plus a string of CDs, has established the orchestra as an important institution in the Danish music industry. It also takes part as an opera orchestra with 'Den jyske Opera' and is the regular house orchestra for the Aarhus Summer Opera.
Die Meistersinger von Nürnberg
April, 2019
Where: Salzburg Osterfestspiele
Role: Augustin Moser
Die Meistersinger von Nürnberg is the main work on the program of the 2019 Salzburg Easter Festival. This will be only the second production of Richard Wagner’s opera in the history of the Easter Festival (the first having been in 1974/75), and only the fourth production of this work at any of the Salzburg Festivals. So it is truly high time to get to grips with this masterpiece again in the new production by Jens-Daniel Herzog, with sets and costumes by Mathis Neidhardt and Sybille Gädeke under the baton of Maestro Christian Thielemann.
Malmö Opera Gala
June, 2019
Where: Tivoli Concert Hall, Copenhagen
Repertoire: Opera Highlights
Malmö Opera is offering a festive evening with Nordic romance and famous opera choirs accompanied by Danish tenor Adam Frandsen, who will acknowledge receipt of the Danish music reviewer's artist award (Musikanmelderringens Kunstnerpris) 2018 at this concert. Director of Malmö Opera, Michael Bojesen, will skillfully guide the audience through the concert with carefully selected facts and anecdotes.
The stage is set for a firework display of top arias for choirs and tenors from the world of opera. Adam Frandsen – the fast-rising young Danish tenor – is offering well-known arias composed for tenors from e.g. Turandot, and the beautiful voices of the accomplished Malmö Opera Choir will be performing pieces from e.g. Verdi's The Force of Destiny and The Troubadour, accompanied by the famous notes of Offenbach's Orpheus in the Underworld.
Before the interval, one of Sweden's greatest composers, Wilhelm Stenhammar, will be highlighted in the Nordic section. He was inspired by both Richard Wagner and Anton Bruckner, but over the years developed a more 'Nordic' tone inspired by colleagues such as Carl Nielsen and Jean Sibelius.
DON GIOVANNI
July, 2018
Where: Auckland, New Zealand
With: Auckland Philharmonia
Don Giovanni lives for one thing – women! He seduces compulsively and unrepentantly, while his long-suffering servant Leporello maintains the catalogue. Making a post-assignation getaway from one noble woman, he kills her father. But the father was a highly respected citizen: passing a statue erected in his memory, Don Giovanni invites it to dinner. Slowly, very slowly, the statue nods its head …
Funny, dark, earthy, witty, shocking, this all-embracing score has some of Mozart’s most sublime music, some of his most catchy tunes, and – when the legions of Hell catch Don Giovanni in the end – music which, after 200 years is still terrifying.
The remaining cast consists of Norwegian baritone Audun Iversen, who makes his debut with the APO in the title role alongside Grammy award-winning bass baritone Robert Gleadow as Leporello and fellow New Zealander and emerging artist Natasha Wilson as Zerlina.
Giordano Bellincampi will again lead the orchestra and the stellar cast of singers, infusing his innate sense of theatre for what promises to be a sensational opera in concert performance.
Opera in Rebild - Outdoor Venue
August, 2019
Where: Rebild Bakker, Denmark
Repertoire: Mixed Operatic
The area has a rich and thriving cultural life; and it is particularly renowned for the Rebild Celebrations. On every 4th of July since 1912, the area has been the venue for the celebration of the United States’ Independence Day. This event is believed to be the greatest independence-day celebration outside the US.
Opera in Rebild is an annually recurring event, which features some of the most celebrated profiles in todays opera world, and serves as a relaxed and picturesque way of enjoying the art form.
DON GIOVANNI
Feb. - April, 2020
Opera Australia / more info soon
ELEKTRA
2020
Royal Opera House - Covent Garden, London
more info soon
Oedipus Rex - Malmö Symphony
2020
More in fo soon
Salome
2021
Royal Opera House - Covent Garden, London
more info soon
Behind the Music
Adam Frandsen began singing as a young boy in the Copenhagen Royal Chapel Choir. In 2005, he started his opera studies at the Copenhagen Royal Opera with guest professor Douglas Yates. Frandsen then moved to Houston, Texas, where he studied under Professor Timothy Jones, conductors Peter Jacoby and Lucy Arner, and director Buck Ross, at the Moores School of Music. He later enrolled for a brief period at the Yale University School of Music, working with bass Richard Cross. Frandsen is a graduate of the prestigious Curtis Institute of Music, under the direction of Mikael Eliasen, as a student of Marlena Malas.
Frandsen has taken part in the Aspen Music Festival, The International Vocal Arts Institute Israel and Virginia, and the IIVA Puerto Rico. He has worked with and received master classes from Neil Shicoff, Francisco Araiza, Joan Dornemann, Sherrill Milnes, Mignon Dunn, Håkan Hagegård, Vinson Cole, Seiji Ozawa, Lorin Maazel, Pierre Vallet and Patrick Summers. Frandsen was a regional finalist in the 2008 Metropolitan Opera National Council Auditions and is the recipient of the honorary Aalborg Opera Prize 2015. He was also awarded grants and scholarships from Moores, Yale, Curtis, and several American and Danish organizations.
In the 2013-2014 season, Frandsen made an important role debut at Semperoper Dresden as Sergei in Shostakovich's Moscow, Cheryomushki. He sang performances of Cavaradossi in Tosca at Aalborg Opera Festival and Roméo in Roméo et Juliette at the Copenhagen Opera Festival. Frandsen also appeared with the Württembergishces Philharmonie, Germany, in a concert of opera highlights.
Engagements in 2015- 2016 included Ferrando/Cosi fan Tutte and Elvino/La Sonnambula at Opera Hedeland; and Narraboth/Salome at Copenhagen Royal Opera with Stefan Herheim and Boder. Frandsen also performed the lead role as Architect Jørn Utzon in Opera Australia's newly commissioned and highly profiled opera- 'Sydney Opera House, The Opera'- that celebrates the construction of the House and famous emblem of the city.
Future engagements among others include Augustin Moser/Meitersinger von Nürnberg at Salzburg Easter Festival, Don Ottavio/Don Giovanni with Auckland Philharmonic Orchestra, Junge Diener/Elektra and Narraboth/Salome at Royal Opera House Covent Garden London as well as Don Ottavio/Don Giovanni at Opera Australia Sydney.
Recent engagements include Edgardo/Lucia di Lammermoor at Opera Hedeland, Alfredo/La Traviata at Danish National Opera, New Years Concert with Norrköping Symphony Orchestra, Tamino/Die Zauberflöte in Gothenburg, "Das Lied von der Erde" concert with Mahler Chamber Orchestra w. Ion Marin, Alfredo/La Traviata at Kilden Kristiansand, Sir Edgardo di Ravenswood/Lucia di Lammermoor and Rodolfo/La bohème at Opera Hedeland, Ishmael/Moby Dick at Polish National Opera Teatr Wielki, Duke/Rigoletto with the Haifa Symphony Orchestra, Tamino/Die Zauberflöte, and Farinelli in the Tivoli Concert Hall with the Tivoli Symphony Orchestra, Copenhagen.
Other engagements include The Duke/Rigoletto with the Haifa Symphony Orchestra; Tamino/Die Zauberflöte; and Farinelli in the Tivoli Concert Hall with the Tivoli Symphony Orchestra, Copenhagen.
Frandsen has covered Pinkerton in Madama Butterfly at the Seiji Ozawa Opera Project/Saito Kinen Festival, and Rodolfo in La bohème under Lorin Maazel at the Castleton Festival.
Frandsen has also sung the roles of Don Jose/Carmen; Rinuccio/Gianni Schicchi; Ruggero/La Rondine; Arcadio/Florencia en el Amazonas; The Prologue/The Turn of the Screw; and the title roles in Idomeneo and Faust.
As a concert soloist, he has sung Beethoven’s 9th Symphony under Lorin Maazel; Mahler's Das Lied von der Erde with Camerata RCO; Handel’s Messiah; Saint-Saëns’s Christmas Oratorio; Dubois’s Seven Last Words of Christ; and Schubert’s Die schöne Müllerin. In the summer of 2011, Mr. Frandsen sang a program of Scandinavian songs by composers Sibelius, Grieg and Carl Nielsen in the Tivoli Concert Hall, Copenhagen.
Additionally, Frandsen has collaborated with the Copenhagen Philharmonic, Aalborg Symphony Orchestra, Aarhus Symphony Orchestra, Danish National Opera, South Denmark Philharmonic, The Chamber Orchestra of Philadelphia, Curtis Symphony Orchestra, Odense Symphony Orchestra, Orquesta Sinfónica del Principado de Asturias, and the Norrköping Symphony.
Review
Quotes
The Magic Flute, W.A. Mozart, GöteborgsOperan
"Mozarts toner klingar underbart både i orkesterdiket och från scenen. Som Tamino hör vi den danske sångaren Adam Frandsen som äger en varm och fyllig tenorstämma."
- Sveriges Radio P4 v. Thorvald Pellby Petterson, 5 Apr 2017
The Magic Flute, W.A. Mozart, GöteborgsOperan
"...The Gothenburg Opera Orchestra under Henrik Schaefer’s baton continue to excel themselves in Mozart, matching the infectious love for the scores of Gothenburg’s previous Mozart productions... Adam Frandsen also convinced as Tamino. His tight vibrato suits the role and he had confidence and control almost to the top of his range. He very effectively combined excellent diction with lyrical expression. "
- Seen and Heard International v. Niklas Smit, 5 Apr 2017
Sydney Opera House, The Opera, A. John and D. Watkins, Opera Australia, 28 October 2016
"A hardworking cast of 16 is led by a stellar vocal performance from Danish tenor Adam Frandsen. The Architect is a taxing role, demanding stamina and sensitivity and he has both in spades. His voice rings out at the top, crowning his frequent arias of vision and ambition with buckets of glorious, heroic tone.
- Clive Paget, Limelight, 29 Oct 2016
Romeo et Juliette, Gounod, Copenhagen Opera Festival, August 2014
"And the singers then? No trade-offs there. We have mentioned Isabel Piganiol's Tosca. Her poor, battered, and heroic Cavaradossi is in the hands of Adam Frandsen, the new tenor talent we just heard as Romeo in Gounod's opera at the Copenhagen Opera Festival, confirmed here as more than just a talent, but as an already able-bodied young tenor voice, with the height and size for the big lyrical roles. Entirely touching here in his somewhat youthful appearance, with innocence and defiance, undaunted, vigorous. Hold on, buddy, do not wear out your voice too early and too hard. It is worth gold!"
- Gregers Dirckinck-Holmfeld (Famous Danish critic, talk show host and author), 21 Aug 2014
Romeo et Juliette, Gounod, Copenhagen Opera Festival, August 2014
"...But what did it matter when Romeo - fleet-footed and heart-meltingly sung by the young tenor Adam Frandsen - could climb up on the roof of a small shed and from there serenade his beloved Juliet… With deep, green foliage and a sky that stayed dry throughout the entire performance, the old courtyard created a spacious and romantic setting for this impassioned opera about two young lovers who are trying to overcome family feuds in order to be together."
- Christine Christiansen, Jyllands Posten, 29 Jul 2014
Philadelphia Chamber Orchestra, Verizon Hall, Spring 2013
"The photographic arrangements and their movement, scored perfectly to the music, provided an intensely dramatic backdrop to the song, with an equally stunning intensity of the music behind Frandsen's powerful vocals."
- Marakay Rogers, BroadwayWorld.com 11 Apr 2013
Philadelphia Chamber Orchestra, Verizon Hall, Spring 2013
"The vocal line, sung in English by tenor Adam Frandsen, created a haunting sense of the yearning that accompanied the change portrayed in the visuals."
- Tom Purdom,BroadStreetReview.com 9 Apr 2013
Farinelli, Reesen, Copenhagen Philharmonic, Fall 2013
"Frandsen embraced the audience with a natural warmth - the well-known "Sangen har vinger" was his velvety highlight."
- Christine Christiansen, Jyllands Posten 4 Aug 2013
Farinelli, Reesen, Copenhagen Philharmonic, Fall 2013
"The soloists, led by a lyrical Adam Frandsen, also seemed to have fun, which rubbed off on the audience. The standing ovation was followed by so many "bravo"-cries, that it made you believe in the possibility of a performance of the operetta in its entirety in the coming years."
- CPHCulture.dk, Aug 2013
Württembergische Philharmonie, Opera Gala, Germany, March 2013
"His vocal qualities arouse astonishment: Shining, effortless and bursting with energy his voice elevates to dizzy heights; he drew the coloraturas like the finest pen-and-ink painting[...]Adam Frandsen enchants with a melting voice as a vivid Romeo."
- Armin Knauer, Reutlinger General-Anzeiger, 9 Mar 2013
Württembergische Philharmonie, Opera Gala, Germany, March 2013
"...Adam Frandsen could demonstrate his abilities and pleasant voice for the first time. An appealing choice of pieces and with the young soprano Daniela Gerstenmayer and the Danish tenor Adam Frandsen two outstanding soloists made this opera evening in Reutlingen´s best room to a most memorable event."
- Bernhard Haage, Schwäbisches Tagblatt, 9 Mar 2013
Württembergische Philharmonie, Opera Gala, Germany, March 2013
"Adam Frandsen appeared as a technically well-versed tenor with a bright and powerful voice, not afraid of coloraturas and Nessun dorma."
- Susanne Eckstein, Reutlinger Nachrichten, 9 Mar 2013
Solo recital, Northern Denmark, August 2012
"The two encores showed clearly where Adam Frandsen felt most at home, expressing all the drama in Tchaikovsky's great aria from Queen of Spades and Donizetti's 'L'Elisir d'Amore. It was impressive in all respects: Passion, expression, clear text and scenic breakthrough.”
- Tore Mortensen, Nordjyske Stiftstidende, 15 Aug 2012
Thanks for visiting!
Hope to see you in the audience!
Contact
Address:
General Management:
Crescendi Artists
113 Gammel Kongevej, 1. TV.
Frederiksberg, 1850
Denmark
(+45) 21-95-28-28
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