Adam Frandsen, tenor

Adam Frandsen

Official website
Represented By:

Michael Morelli
+45 21 95 28 28

Ole Justesen
+45 21 85 58 60


Danish tenor Adam Frandsen is quickly gaining international attention for a lyric tenor voice that is “shining, effortless, and bursting with energy.”


Recently the artist has performed as Rodolfo/La Bohème at Taichung National Theater, as tenor soloist at Verdi’s requiem with Victoria Symphony, Canada; Augustin Moser/Meitersinger von Nürnberg at Salzburg Easter Festival, Don Ottavio/Don Giovanni with Auckland Philharmonic Orchestra (a collaboration between the Auckland Philharmonic Orchestra and New Zealand Opera), 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, as well as Shephard/Oedipus Rex with Malmö Symfoniorkester, Das Lied von der Erde in Kioi Hall, Tokyo and Mismodet/Antikrist at Rued Langgaard Festival.

Most recent and future highlights include among others:

  • the title role of Don Carlos, Peter Quint & Prologue/The Turn of the Screw and the tenor part at the song cycle Dichterliebe (online stream) at Foksoperan Stockholm;
  • Jaquino/Fidelio with Trondheim Symfoniorkester;
  • Junge Diener/Elektra and Narraboth/Salome at Royal Opera House Covent Garden London;
  • a concert with Opera På Grænsen, Denmark.


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.

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.


Adam Frandsen – Die Zauberflöte by W. A. Mozart – Trollflöjten

The Eighth Wonder: The story featuring Adam Frandsen (Sydney Opera House)

Adam Frandsen – La Bohème by G. Puccini – aria Che Gelida Manina (audition)


The Magic Flute by W.A. Mozart at GöteborgsOperan – April 2017

“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.”

– Thorvald Pellby Petterson, Sveriges Radio P4

The Magic Flute by W.A. Mozart at GöteborgsOperan – April 2017

“…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. ”
– Niklas Smit, Seen and Heard International