Highlights of Rogister’s 2017/18 season include his Metropolitan Opera debut leading Mozart’s The Magic Flute, a return to the Kennedy Center to conduct Francesca Zambello’s season opening production of Verdi’s Aida, performances of Richard Strauss’s Salome at the Deutsche Oper Berlin, and a new production of Tchaikovsky’s Eugene Onegin at the Royal Swedish Opera. Rogister was recently named by the Göteborg Opera to conduct its first ever Ring Cycle from 2018, a project that culminates in 2021 (the 400th Anniversary of the city of Gothenburg) with Wagner’s Götterdämmerung.
Evan’s acclaimed debut recording with Deutsche Grammophon, Follow, Poet, was released in January of 2015. The album features new works by the composer Mohammed Fairouz, with Evan conducting the ‘Ensemble LPR’.
Equally at home on the concert platform, in 2017/18 Rogister leads the Spoleto Festival Orchestra and the Malmö Symphony Orchestra. Recent appearances include Royal Stockholm Philharmonic Orchestra, National Symphony Orchestra, Gothenburg Symphony, l’Orchestre Philharmonique du Luxembourg, Bochum Symphoniker, Milwaukee Symphony Orchestra and Atlanta Symphony Orchestra
19:00 02 Nov 2017 Malmo Live Konserthus, MALMO More info
SANDSTRÖM Fantasia III
BRAHMS A German Requiem, Op. 45
14:00 04 Nov 2017 Malmo Live Konserthus, MALMO More info
BRAHMS A German Requiem, Op. 45
12 Sep 17 Washington National Opera AidaMore info
“Conductor Evan Rogister sensitively conducts, eliciting tones of insistent yearning that, suddenly, thrill with dramatic crescendos. Rogister evoked the more militaristic pomp of the music with the more romantic style of Verdi’s music. The oft-performed succession of melodies in the Triumphal scene (“O Re, pei sacri Numi! Gloria all Egitto”) were particularly resonant.”
David Friscic, DC Metro Theater Arts
31 May 17 Spoleto Festival USA Vivaldi, Mozart, Puccini, BernsteinMore info
“German conductor Evan Rogister led the evening’s orchestral works and displayed a command of the ensemble that was both subtle and expansive. His gestures range from the smallest hand movements to the full blown and dance-like that bring to visual life the aural imaginings of the music. Rogister used his entire body to bring forth persuasive interpretations of the music and its emotional content.”
David Friddle, The Post and Courier
14 Mar 17 Verdi Ernani Théâtre du Capitole ToulouseMore info
“He understood the burning urgency of the score, pushing the excellent chorus and Orchestre National du Capitole forward with the savage rhythmic drive early Verdi demands, while not neglecting the more delicate moments of lyricism, for example the wonderfully played postlude of Carlo’s great aria “Oh, de’ verd’anni miei”
12 Nov 16 Mozart Le nozze di Figaro Malmö OperaMore info“So there is genuine real life drama and not a routine opera because Evan Rogister’s musical direction is as spiritual as Stein’s direction; they follow each other.”“Så det är äkta levandelivet dramatik och inte pliktopera eftersom Evan Rogisters musikaliska ledning är lika spirituell som Steins regi, de följer varandra.”“Conductor Evan Rogister’s leadership is purely exemplary: very elegant sound with Mozartian luster and proper dynamics in the orchestra, swift but not overly intense tempos, and good sense of timing to the singers’ performances. Should you object to something, then maybe he should have turned on a little faster to dampen the crowd’s spontaneous applause.”“Dirigenten Evan Rogisters ledning är rent föredömlig: mycket fin klang med mozartsk lyster och korrekt dynamik i orkestern, snabbt men inte uppdrivet tempo och bra känsla för timing mot sångarnas prestationer. Ska man anmärka på något, så kanske han borde ha slagit på en aning snabbare för att dämpa publikens störande spontanapplåder.”In spite of his experience, this is the first time Peter Stein takes on [Le Nozze di Figaro], and at his side he has the young American conductor Evan Rogister, who fired up the stage and orchestra pit; both were bursting with life.”“Trots sin erfarenhet är det första gången Peter Stein tar sig an verket, och vid sin sida har han unge amerikanske dirigenten Evan Rogister som eldar på så svetten stänker: både scen och orkesterdike spritter av liv.”“In the next breath he [Peter Stein] is heaping praise on his colleagues at the Malmö Opera, not least the conductor Evan Rogister, with whom he has had a perfect collaboration.”“I nästa andetag öser han lovord över sina medarbetare på Malmö opera, inte minst dirigenten Evan Rogister som han har haft ett perfekt samarbete med.”
19 Sep 15 Bizet Carmen Washington National OperaMore info
‘…incisively conducted by Evan Rogister, the venture crackled with energy from the top of the Prelude to Act I. Rogister’s sensitive guidance [in Act 1] was matched by his unhurried, beautifully nuanced conducting of the Act III Prelude; he made sure that the accompaniment patterns in the strings emerged as eloquently as the flute solo.’
Tim Smith, Opera News
The other strength of this production is in the orchestra pit, where conductor Evan Rogister led the Washington National Opera Orchestra. …hearing him in a familiar score, and music that thrives on rhythmic and dynamic nuance, was a revelation. Rogister drew forth beautifully shaped phrases in the Entr’act to Act III, and in the overture, and was unafraid in the First Act to let the scene-setting listlessness of the music sound in fact sultry, lazy and listless. The orchestra can often be unsubtle, but not last night, and even a few horn misfires didn’t diminish the fine effect.
06 May 15 Fairouz Follow, Poet Deutsche GrammophonMore info
‘The players of Ensemble LPR perform with virtuosity and commitment throughout the song cycle and the ballet, under the clearly inspired leadership of Evan Rogister.’
Joshua Rosenblum, Opera News
18 Apr 15 Bartok/Schoenberg Bluebeard's Castle/Erwartung Gothenburg OperaMore info
‘Sakligheten och stramheten gör att musiken kan tala direkt, och till precisionen i tolkningen bidrar inte minst det fabulösa orkesterspelet under Evan Rogisters ledning.’‘Objectivity and rigor make music that speaks directly, and contributing to the accuracy of the interpretation was the fabulous orchestra under Evan Rogister’s leadership’
‘Det är ett skärande ljud som sällar sig till soundet från den vilt skriande orkestern, för kvällen ledd med all tänkbar energi och skärpa av dirigenten Evan Rogister.’‘…the sound of the fiercely crying orchestra is conducted with all possible energy and sharpness by Evan Rogister.’
27 Jul 13 Oscar Santa Fe OperaMore info
“The opera, a co-production with the Opera Company of Philadelphia,
receives a worthy performance from Daniels and colleagues under the
talented young conductor Evan Rogister, who scored twin successes last
season at Lyric Opera.”
“Evan Rogister conducted incisively, making the clichéd orchestration sound better than it was.”
The Wall Street Journal
09 Mar 13 Rigoletto Lyric Opera of ChicagoMore info
The third impressive debut of the evening was conductor Evan Rogister. Unlike many opera batonsmiths, the young American started his career as a singer, which was manifest in his alert and sensitive accompaniment to the cast and impeccable balancing, conveying Verdian fire while drawing an array of hues and dynamic subtleties. Rogister will also lead the Lyric’s March-April performances of Previn’s A Streetcar Named Desire, and is clearly a young talent on the rise.
Lawrence A. Johnson for Chicago Classical Review
24 Oct 12 La Bohème Houston Grand OperaMore info
“Rogister conducts with flash and feeling, guiding a performance that is as persuasive in the tiniest grace notes of orchestration as in the sweeping surges of gorgeous melody.”
Everett Evams, Houston Chronicle
“Conductor Evan Rogister led the HGO Orchestra in an impressively lean rather than lush performance: the dramatic pace never slackened as Rogister took care not to linger too long at moments of passionate intensity; and the texture, although it accommodated rich, expressive swells of orchestral sound, was always transparent enough to reveal a wealth of musical detail. Rogister and the HGO Orchestra thus furnished non-traditional sound to complement this innovative staging of Puccini, and it suited the score, which teems with motives of youthful humor and impetuousness, foreboding and reminiscence.”
Gregory Barnett for Opera News
01 Aug 12 Opera News Vol. 77 No. 3More info
In the three years since he was featured in OPERA NEWS’s “Sound Bites,” Evan Rogister has become one of classical music’s most talked-about young conductors. When the North Carolina native spoke to OPERA NEWS in 2009, he had just finished his debut run at Seattle Opera, leading Bluebeard’s Castle and Erwartung, and was about to start a two-year stint as Kapellmeister (principal assistant conductor) at Deutsche Oper Berlin, during which he would lead Die Zauberflöte, La Bohème, Manon Lescaut, Rienzi, Hänsel und Gretel, La Traviata and Carmen. Rogister followed up his term at DOB with engagements there as a guest conductor for Otello and Don Giovanni in 2011–12 and his debut at the Royal Swedish Opera in Stockholm this past spring, leading Lohengrin. After building his resumé in Europe, Rogister is now scheduled to appear with more frequency in the U.S. This summer, he is at Santa Fe Opera, leading Szymanowski’s King Roger for his company debut; he will return to that company in 2013 to lead the world premiere of Theodore Morrison’s much-anticipated Oscar. In October 2012, Rogister opens the season at Houston Grand Opera — the company where he made his U.S. opera conducting debut, in 2006 — pacing John Caird’s staging of La Bohème. In February 2013, he arrives at Lyric Opera of Chicago for Rigoletto, to be followed by a March–April run leading the Lyric premiere of A Streetcar Named Desire, with Renée Fleming as Blanche.
Rogister, who counts Patrick Summers, Alan Gilbert and Donald Runnicles among his professional mentors, speaks and listens with the unfailing discretion that all successful assistant conductors learn on the job. He is smart, hard-working, unaffectedly musical and blessed with natural leadership ability. Tall and striking, he faces an orchestra with the sangfroid of a man born wearing white tie and tails, but he acknowledges that his relative youth — he’s still in his early thirties — can present the occasional professional challenge: “All young conductors face the fact that for the first ten years of your career, you are way younger than almost everybody in the orchestra. And everybody knows it. And you have to deal with it. But I don’t waste time on wondering what they think about me and how young I am. My job is to stay focused on the score and work with them on what the composer wanted.”
Rogister began his training as a classical musician — first as a trombone player, then as a baritone — at Indiana University, but he did not begin serious work on conducting until he was at Juilliard, studying for his master’s in voice. “Having studied singing, I understand breathing better. The lucky thing for me is that it not only helps singers, but it helps the way I conduct the orchestra. People who don’t think about the breathing that a phrase must have — orchestral or vocal — are missing out on something. You can hear when a string section breathes — the strings of the Vienna Phiharmonic, of the Dresden Staatskapelle, of the Deutsche Oper, the Met Orchestra. They play vocally. They breathe.”
Opera’s Next Wave
14 Jan 12 Tchaikovsky, Sibelius String Serenade, Symphony No.2 Milwaukee Symphony OrchestraMore info
Guest conductor Evan Rogister led the orchestra through Tchaikovsky’s deeply expressive “Serenade for Strings,” Sibelius’ broad, stirring Symphony No. 2 and Arutiunian’s powerful Concerto for Trumpet and Orchestra, featuring MSO principal trumpeter Mark Niehaus. Rogister and the players gave elegant shape to the Tchaikovsky, filling the piece with graceful interpretive details.
Elaine Scmidt, Milwaukee Journal Sentinel
Guest conductor Evan Rogister showed particular sensitivity to the exquisite melodies in Tchaikovsky’s Serenade for Strings at Friday night’s Milwaukee Symphony concert. Rogister’s awareness to the subtleties of the Elégie especially hit home. He phrased the opening scales as if delivering them parlando.……. Rogister had equally compelling ideas about all four movements of the Serenade. He expressed them through his long, sinuous arms, which promoted a gorgeous legato and rich, viscous tone in the slow music.
Tom Strini, Third Coast Digest