Bass-baritone

Miklós Sebestyén

Website
Represented By:

Michael Morelli
mm@crescendiartists.com
+45 21 95 28 28

Ole Justesen
oj@crescendiartists.com
+45 21 85 58 60

BIOGRAPHY

The bass-baritone Miklós Sebestyén was born in Budapest, Hungary. In the early years of his musical education he played various instruments – flute, guitar, piano – until he decided to choose singing as his profession. He studied with Prof. László Polgár in Zürich and with Prof. Josef Loibl in Munich.

Already during his studies he worked in several opera productions in Europe (Zurich, Basel, Winterthur, Torino, Monte Carlo, Budapest etc.) and in various opera houses (Nürnberg Opera, Staatstheater am Gaertnerplatz in Munich, Leipzig Opera, Prinzregententheater Munich).

Recently the artist has performed Padre Guardiano and Calatrava/La Forza del Destino at Teatro Sao Carlos Lisbon, Vodnik/Rusalka at Bolshoi in Moscow, Don Magnifico/La Cenerentola at Norwegian National Opera, Sparafucile/Rigoletto at Bregenzer Festspiele, Rossini/Petite Messe Sollenelle with Copenhagen Royal Chapel Choir, Cantata Profana by Bartók at Teatro Petruzelli di Bari, Padre Guardiano/La Forza del Destino and Commendatore/Don Giovanni at Welsh National Opera, Escamilo/Carmen concertante with Győr Philharmonic Orchestra at Audi Arena and Bluebeard/Bluebeard’s Castle at Hungarian State Opera.

Future engagements include Nilakantha/Lakmé Concertante in Tchaikovskij Concert Hall in Moscow, Beethoven’s Missa Solemnis and 9th Symphony as well as Bartók’s Bluebeards Castle at Opéra de Niceat Opéra de Nice, Pistola/Falstaff at Opéra Occitaine de Montpellier, Tigellino/Nerone at Bregenzer Festspiele, Sakristán, Lunobor, Domsik/The Adventures of Mr Brouck and Prince Tokmakov/Ivan the Terible at Grange Park Opera with David Pountney as well as Seneca/L’Incoronazione di Poppea in Zürich Opera House.

Other past engagements include among others Gremin/Eugen Onegin and Dosefei/Khowanschina at Welsh National Opera, Bach/B Minor Mass with Copenhagen Chapel Choir, Hans Foltz/Die Meistersinger von Nürnberg at Teatro alla Scala di Milano in 2017, Giorgio/I Puritani in Budapest, Banco/Macbeth at Welsh National Opera in 2016, Lord Gualtiero Valton/I Puritani at Teatro Real de Madrid in 2016, Don Magnifico/La Cenerentola at Opera Tel Aviv in 2016, Bonzo/Madama Butterfly at Concertgebouw Amsterdam in 2016, the World Premiere of Battistellis opera CO2 at La Scala di Milano in May 2015 staged by Robert Carsen and conducted by Cornelius Meister as 2nd Scientist and 2nd Man (Airport), Pizarro/Fidelio in Taiwan (2015), Timur/Turandot (2013) at Opéra National de Lorraine where he also in 2014 sang Publius/La Clemenza di Tito, Colline/La Bohème (2014) at Malmö Opera, Alter Bankier/Die Flut at Bayerische Staatsoper München in 2014, the title role of Mosé by Rossini with Carlo Rizzi and David Pountney at Welsh National Opera in 2014, Old Man/Aleko at Opera National Lorraine de Nancy in 2015, Bonzo/Madama Butterfly in 2015.

Furthermore, he had great success in Vienna in a new production of Berlioz’s Béatrice et Bénedict directed by Kasper Holten. In June 2013 he made his debut at the internationally renowned Wagner Festival in Budapest, as Kothner in the new production of Meistersinger von Nürnberg, conducted by Adam Fischer.

Miklós Sebestyén made his debut at the Metropolitan Opera New York in 2012 as the King of Egypt in Verdi’s Aida, a production which was broadcasted on “Live HD from the MET” in cinemas all over the world. Also at the Met he sang the Friar (Frate) in Don Carlo in 2013.

In 2010 he won 3rd prize in the Belvedere Singing Competition in Vienna. After his success at the competition he sang at various great opera houses, such as the Deutsche Oper am Rhein, Komische Oper Berlin, Oper Leipzig, Staatstheater Nürnberg.

Sebestyén’s major roles include Mozart’s Figaro/Le Nozze, Leporello, Masetto, Commendatore/Don Giovanni, Sarastro, Sprecher/The Magic Flute, Don Alfonso/Cosi fan tutte; Ercole in Händel’s Admeto; Mustafa in Rossini’s L’Italiana in Algeri; Enrico VIII in Donizetti’s Anna Bolena; Stefanno Colonna in Wagner’s Rienzi; Prince Gremin in Tchaikovsky’s Eugene Onegin, Colline and Schaunard in Puccini’s La Bohéme; Ferrando in Verdi’s Il Trovatore, Sparafucile/Rigoletto, Il Re/Aida; Kothner in Wagner’s Meistersinger; Celio in Prokofiev’s The Love for Three Oranges; and Priest in Schönberg’s Moses and Aron.

He worked a.o. with great conductors of our time, such as Fabio Luisi, Adam Fischer, Lorin Maazel, Riccardo Chailly, Ulf Schirmer.

With various oratorios of J. S. Bach, Mozart, Händel, Haydn, Beethoven, Paul Ben Haim, Stravinsky; and with songs of Schubert, Schumann, Brahms, Wolf, Mussorgsky he has established himself as a concert singer as well.

REPERTOIRE

REPERTOIRE

Opera
Bartók, B. Bluebeard’s Castle Bluebeard
Battistelli, G. CO2 2nd Scientist
CO2 2nd Man (Airport)
Beethoven, L.v. Fidelio Rocco
Fidelio Pizarro
Bellini, V. I puritani Lord Gualtiero Valton
Berlioz, H. Beatrice et Benedict Somarone
Bizet, G. Carmen Escamillo
Blacher, B. Die Flut Der alte Bankier
Boito, A. Nerone Tigellino
Delibes, L. Lakmé Concertante Nilakantha
Donizetti, G. Anna Bolena Enrico
Dvořák, A. Rusalka Vodnik
Heep, M. La machine reve Bakunin
Janáček, L. The Adventures of Mr Brouck Lunobor
The Adventures of Mr Brouck Sakristán
The Adventures of Mr Brouck Domsik
Monteverdi, C. L’Incoronazione di Poppea Seneca
Mozart, W.A. Die Entführung aus dem Serail Osmin
Die Zauberflöte Sarastro
Don Giovanni Il Commendatore (Don Pedro)
Don Giovanni Don Giovanni
Don Giovanni Leporello
La clemenza di Tito Publio
Le nozze di Figaro Count Almaviva
Le nozze di Figaro Figaro
Zaide Osmin
Mussorgsky, M. Boris Godunov Pimen
Khowanschina Dosifei
Nono, L. Al gran sole carico d’amore Fidel
Al gran sole carico d’amore Dimitri
Prokofiev, S. L’amour des trois oranges Tchelio
Puccini, G. La boheme Colline
La boheme Schaunard
La rondine Rambaldo
Madama Butterfly The Bonze
Turandot Timur
Rachmaninoff, S. Aleko Old Man
Rimsky-Korsakov, N. Ivan the Terrible Prince Tokmakov
Rossini, G. Il barbiere di Siviglia Doctor Bartolo
Il barbiere di Siviglia Don Basilio
La Cenerentola Don Magnifico
L’italiana in Algeri Mustafa
Mosé in Egitto Mosé
Schönberg, A. Moses und Aron Priester
Strauss, R. Elektra Orest’s tutor
Salome First Nazarene
Stravinsky, I. The Rake’s Progress Trulove
Tchaikovsky, P.I. Eugene Onegin Prince Gremin
Tchaikowsky, A. The Merchant of Venice Duke of Venice
Verdi, G. Attila Attila
Falstaff Pistola
I vespri siciliani Giovanni da Procida
La forza del destino Padre Guardiano
La forza del destino The Marquis of Calatrava
Luisa Miller Count Walter
Macbeth Banco
Rigoletto Sparafucile
Wagner, R. Das Rheingold Fafner
Der fliegende Holländer Daland
Die Meistersinger von Nürnberg Kothner
Die Meistersinger von Nürnberg Hans Foltz
Die Walküre Hunding
Rienzi Steffano Colonna
Concert
Bach, J.S. Ich habe genug, BWV 82
Ich will den Kreuzstab gerne tragen, BWV 56
Johannes-Passion
Magnificat
Mass in B minor
Matthäus-Passion
Weihnachtsoratorium
Bartók, B. Cantata Profana
Beethoven, L.v. Missa Solemnis
Symphony no. 9
Faure, G. Requiem
Gounod, C. Messe solennelle à Sainte Cécile
Händel, G.F. Judas Maccabaeus
Messiah
Haydn, J. Die Jahreszeiten
Die Schöpfung
Nicolaimesse
Kodály, Z. Te Deum
Mozart, W.A. Alma Dei Creatoris
C minor Mass
Missa Brevis in D major
Requiem
Spatzenmesse
Mussorgky, M. Songs and Dances of Death
Rossini, G. Petite messe solennelle
Schubert, F. A flat major Mass
B Flat Major Mass
E flat Major Mass
G major Mass
Stravinsky, I. Les noces

AUDIO & VIDEO

Miklós Sebestyén – Der Freischütz by Weber – Schweig, Schweig

Miklós Sebestyén – L’italiana in Algeri by G. Rossini – Gia d’insolito ardore

Miklós Sebestyén – Aleko by S. Rachmaninov, Nancy 2015

REVIEWS

Tchaikovsky, Eugene Onegin, Wales Millennium Centre, 2017

Having impressed as Dosifei in Khovanschina, Miklós Sebestyén returned successfully as Prince Gremin, investing the character with dignity and intelligence and singing forcefully and thoughtfully. Indeed, his aria about love (“Love is no respecter of age”) in the penultimate scene of the opera quite properly) drew from the audience a greater volume of spontaneous applause than anything else in the opera. (I was pleased to see that he has been engaged for the company’s productions of La forza del destino and Don Giovanni in 2018.)
– seenandheard-international.com, 2017

Tchaikovsky, Eugene Onegin, Wales Millennium Centre, 2017

With the exception of a very fine Miklós Sebestyén as a suitably battle scarred, eye-patch wearing, aging but rock solid, Prince Gremin, who is the foil to the young, pompous and frankly silly Eugene Onegin, the stars of the cast are the female singers.

– www.asiw.co.uk, 2017

Tchaikovsky, Eugene Onegin, Wales Millennium Centre, 2017

“Sebestyén (the Khovanshchina Dosifei) excellent here too as Gremin.”

– www.theartsdesk.com, 2017

Mussorgsky, Khovanshchina, Wales Millennium Centre, 2017

‘There is mesmerising singing from Miklos Sebestyen as Dosifei the leader of the traditionalists who oppose reforms of the unseen Patriarch Nikon’.

– www.asiw.co.uk, 2017

Mussorgsky, Khovanshchina, Wales Millennium Centre, 2017

‘Miklós Sebestyen is Dosifei, the spiritual leader of a large flock who decide to end their lives in flames. The voice is striking in its tone and makes for great theatre every time he is on stage.’

– thesprout.co.uk, 2017

Mussorgsky, Khovanshchina, Wales Millennium Centre, 2017: Five stars for WNO’s unmissable production

‘The cast sing and act brilliantly. While Marfa (Sara Fulgoni) glides crazily, prophetically between factions, the Khovanskys (Robert Hayward and Adrian Dwyer) sink into degradation. Murder and self-immolation end their plotting, the latter at the behest of the Old Believers, led with disturbing command by Miklos Sebestyen’s Dosifei.’

– www.independent.co.uk, 2017

Mussorgsky, Khovanshchina, Wales Millennium Centre, 2017: Russia’s tragedy becomes the world’s in compelling revival

‘Robert Hayward’s Ivan is the big vocal presence, but it is the dignified authority of Miklós Sebestyén’s performance as the believers’ leader, Dosifei, that helps carry the evening, and Simon Bailey is similarly imposing as Shaklovity. Tomáš Hanus conducts with passion.’

– www.theguardian.com, 2017

Mussorgsky, Khovanshchina, Wales Millennium Centre, 2017

‘Miklós Sebestyén’s generous bass provided great contrast as the thoughtful and spiritual Dosifei, also revealing reserves of authoritative power particularly at the point where Dosifei is roused to anger in response to the views of Khovansky and Golitsyn. It’s a great part and he made the most of it.’

– www.classicalsource.com, 2017

Mussorgsky, Khovanshchina, Wales Millennium Centre, 2017

‘Of significant note in this performance is the Budapest born Miklós Sebestyén in respect of both his singing and his acted portrayal of Dosifei, the leader of the Old Believers’
– seenandheard-international.com, 2017

Menu