Audun Iversen

Introduction

Norwegian baritone Audun Iversen began singing at the age of 22. In 2007 he made the final in the “Hans Gabor Belvedere Singing Competition” in Vienna and won the “Queen Sonja International Singing Competition” in Oslo, in addition to being the first singer to win the newly founded “Ingrid Bjoner Scholarship”.

Previous engagements include the Count Le Nozze di Figaro and the title role in Eugene Onegin with the Royal Danish Opera in Copenhagen, where he was Principal artist for 08-09 season, the Count in Le Nozze di Figaro at Deutsche Oper Berlin, the title role in Eugene Onegin for Opéra de Lille, Zurga in concerts of The Pearl Fishers with Moscow State Philharmonic Society and Britten’s War Requiem with the Royal Scottish National Orchestra. He opened the 10/11 season performing the title role in Don Giovanni with Glyndebourne on Tour, followed by Sharpless in Madama Butterfly at the Royal Danish Opera his debut at the Royal Opera House, Covent Garden as Albert in Werther conducted Antonio Pappano, and the title role in Eugene Onegin for the Bolshoi Theatre in Moscow and at the Athens International Festival. Other recent engagements include the title role in Eugene Onegin for English National Opera and at the Bolshoi, Sharpless in Madama Butterfly for Opera di Roma, the Count in Le Nozze di Figaro in a new production at the Glyndebourne Festival in 2012 conducted by Robin Ticciati, a new opera by George Benjamin, Written On Skin at Theater an der Wien in Vienna, Carmina Burana in concert with the Royal Scottish National Orchestra, at the Teatro del Maggio Musicale in Florence and with Chicago Symphony Orchestra conducted by Maestro Muti, and Marcello in La Boheme at Covent Garden.

Engagements in the 13/14 season and beyond include a recital at Norske Opera with accompanist Joseph Breinl, Lescaut in Manon also for the Royal Opera House, Figaro in Il Barbiere di Siviglia and Lescaut in Manon for San Francisco Opera, his debut at the Lyric Opera of Chicago, Carmina Burana in concert with the Orchestre National de Lyon and concerts with the Prague Philharmonia and Israel Philharmonic Orchestra.

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Repertoire

Operatic Repertoire

BERG - WOZZECK, 2nd Apprentice/Handwerksbursch
BIZET - THE PEARL FISHERS, Zurga
GLUCK - ALCESTE, Hercule
LEONCAVALLO - PAGLIACCI, Silvio
MASSENET - MANON, Lescaut
MASSENET - WERTHER, Albert
MONTEVERDI - IL RITORNO D'ULISSE IN PATRIA, Eumete
MOZART - COSI FAN TUTTE, Guglielmo 
MOZART - DON GIOVANNI, title role
MOZART - LE NOZZE DI FIGARO, Conte Almaviva  
MOZART - THE MAGIC FLUTE, Papageno
PUCCINI - LA BOHEME, Schaunard and Marcello 
PUCCINI - MADAMA BUTTERFLY, Sharpless
TCHAIKOVSKY - EUGENE ONEGIN, title role
TCHAIKOVKSY - PIQUE DAME, Yeletsky 

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  • MOZART
    Marriage of Figaro - Under the Bonnet

Audio

Press

Massenet

Manon

Royal Opera House Covent Garden

"led by Audun Iversen’s dramatically dynamic and punchily sung Lescaut" The Stage, January 2014
"Audun Iversen’s Lescaut was fittingly rumbustious, swaggering arrogantly and singing with vigour and vitality" Opera Today, 22 January 2014
"Audun Iversen gave strength and presence as Lescaut, Manon’s cousin." Bachtrack.com, 15 January 2014

Rossini

The Barber of Seville

San Francisco

"Thursday's performance was graced by the dynamic U.S. debut of Norwegian baritone Audun Iversen as Figaro, the wily titular barber who makes sure that Almaviva's ruses work nearly as planned. From his full-throated opening delivery of "Largo al factotum" to his nimble stage work throughout Act 2, Iversen gave a bold and arresting performance." Joshua Kosman, San Francisco Chronicle, 15 November 2013
"Audun Iversen in his U.S. opera debut was a vivid barber with a lustrous voice and a sharp sense of comic timing. The Norwegian baritone’s “Largo al factotum” was vibrantly delivered, and the best moments of the night occurred when he was scheming with one or another of the characters, particularly the marvelous Rosina of mezzo Daniela Mack." CBSlocal, 26 November 2013
"Daniela Mack, Alek Shrader, Auden Iversen and Maurizio Muraro Sparkle in San Francisco Opera “Barber of Seville”
...
The evening’s two major San Francisco Opera debuts were Auden Iversen, the Norwegian baritone singing Figaro and Maurizio Muraro as Dr Bartolo.

Figaro enters the opera in a blaze of glory, singing the ultra-familiar aria Largo al factotum and engaging in a lively series of duets with Almaviva. Iversen’s Figaro was eye-catching and ear-pleasing.!"

Opera Warhorses, 16 November 2013

Tchaikovsky

Eugene Onegin

The Bolshoi in Tel Aviv

"In the title role, Audun Iversen sounded impressive enough to make one understand why Tatiana should have fallen in love with his sonorous, dark-timbred baritone. His polite, detached expression after the letter scene changed into convincingly impassioned emotional outbursts in his final confrontation with Tatiana, achieving a forceful though hopeless climax of the opera."
Ury Eppstein, The Jerusalem Post, June 2013

Puccini

La Boheme - Marcello

Royal Opera House, Covent Garden

"Aided by a superb trio of room-mates played by Audun Iversen (Marcello), Nahuel di Pierro (Colline) and David Bizic (Schaunard), they all combine rich and powerful voices with excellent acting ability which follows Villazon's lead in injecting extra humour and vitality to the production." Daily Express, December 2012
"Audun Iversen proves impressive as Marcello, his rich baritone voice producing a sound of great strength and evenness" Music OMH, January 2013
"Audun Iversen, Albert to Villazón's Werther, was perhaps the most impressive singer on stage as Marcello, vocally commanding (a good ‘Gioventù mia’ in Musetta’s Waltz Song), and offered a sympathetic audience to Mimì in Act III. He also participated in the musical highlight of the evening, the duet ‘O Mimì, tu più non torni’ with Villazón. His interactions with Stefania Dovhan’s flighty Musetta (making her house debut) had all the right spark" Opera Brittania, January 2013
"Norwegian baritone Audun Iversen’s full, rounded tone provided the basis for a warm and winning Marcello" The Stage, December 2012

Orff

Carmina Burana

Royal Scotish National Orchestra

"The finest of the soloists was Audun Iversen, a truly beautiful voice with a smooth tone and honeyed colour that you could revel in, but summoning enough dramatic power to convince as the corrupt Abbot."

Seen and Heard International, November 2012

Orff

Carmina Burana

Carnegie Hall, New York + Chicago Symphony

"Norwegian baritone Auden Iverson’s contributions were not only luxuriously sung, but his various songs took on characterizations of their own: his “Estauns interius” had a touch of cynicism, his “Ego sum abbas” an irreverent decadence and his “Dies, nox et Omnia” delightfully emphasized discomfort when it was textually and range appropriate without coming across as strain."

The Classical Review, September 2012
"the impressive Norwegian baritone Audun Iversen used his warmly attractive lyric voice with great sensitivity, illuminating the texts from within. His singing carried stentorian force when it needed to and could hardly have been more smoothly integrated with that of the chorus. What a pleasure to hear any baritone scale the freakish range of "Dies, nox et omnia" (in which a young man bewails the cold heart of his beloved) so firmly." Chicago Tribune, September 2012
"Iversen displayed confidence across the wide range called for In his parts." Chicago Sun Times, September 2012

Mozart

Le Nozze di Figaro - The Count

Glyndebourne Festival Opera

"Audun Iversen's firmly sung Count, complete with curling lip, dominates as he should..." The Sunday Telegraph, July 2012
"The cast is strong throughout, and there is so much to thrill to. Lydia Teuscher, Vito Priante and Audun Iversen as Susanna, Figaro and the Count, are all splendid vocally and play their wonderful games with rare gusto." Gramophone, June 2012

"Audun Iversen’s Count, in Moody Blues hairdo and moustache, has a big enough personality, vocally and histrionically, to dominate the stage."

Financial Times, June 2012
"Audun Iversen’s moody, sexually frustrated Count and Ann Murray’s deeply human Marcellina add to the richness of the picture." The Stage, June 2012

Tchaikovksy

Eugene Onegin - title role

English National Opera

"A Traditional but Never Boring "Onegin"

This co-production between the Met and English National Opera is that rare thing in today’s opera world -- a clean, faithful telling of the story, as envisaged by the composer...The men took the honors. Norwegian baritone Audun Iversen was a beautifully sung and acted Onegin, broody, disconsolate, passionate, growing in stature as the work progressed"

Musical America, November 2011
"he was acting, extremely well, a young man not entirely confident at being an adult. Hence the overplayed self-importance, the drinking (his surreptitious helping himself to a refill in Scene 1 was a nice touch), and his patronising humiliation of Tatyana – again, his arrogant god’s-gift-to-women long, forced kiss before he discards her was shockingly probable, as was Tatyana’s final miserable embrace before she abandons him. Iversen makes Onegin satisfyingly insecure and supercilious; he sang beautifully and was compelling as the drunken empty husk of a man in Act Three." Classical Source, November 2011
"But it’s with the three main characters where the real excitement lies. Norwegian baritone Audun Iversen is nothing short of sensational as Onegin and not only does his singing take on a white hot intensity as the evening progresses but he manages to catch the character's insouciance which makes Onegin so objectionable from the start. His descent from buttoned-up prig to dishevelled obsessive is chartered unerringly realistically and his diction, given that he is not a native English speaker, is faultless." What's On Stage, November 2011
"Conductor Edward Gardner shows a firmer grasp of the opera's scale, and he has a strong cast to work with. The most convincing character is Onegin, his world-weary disdain embodied in Audun Iversen's clear, firm baritone and aloof stage presence." Evening Standard, November 2011
"Some Onegins can be so icily aloof in Act 1, and crushingly cruel in their rejection of Tatyana; Iversen's Onegin was more subtle than that, hardly priggish at all and seemingly honest when he told Tatyana he was neither ready for nor suited to marriage, though the way he kissed her here left things more ambiguously open than usual. His darksome voice registered strongly, and the Norwegian baritone (who sings Almaviva at Glyndebourne next summer) projected clear English. Opera magazine, December 2011