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Donald E. Osborne, Director California Artists Management 564 Market Street, Suite 420, San Francisco, CA 94104-5412 415 362-2787 / fax: 415 362-2838 / Skype: calartistsdon / Email |
Susan Endrizzi Morris, Director California Artists Management P.O. Box 2479, Mendocino, CA 95460-2479 707-937-4787 / cell: 415-302-1083 / Skype: sueendrizzi / Email |
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 Download Bio |
Christòpheren Nomura
Baritone
(updated February 2011 –
please discard any previous version)
"Christòpheren Nomura is
definitely a face to watch – and a voice to hear.
His musical intentions are
both subtle and direct. He has a wonderfully
expressive face and a
first-class baritone voice – warm, robust and clear."
Richard Dyer – The Boston
Globe |
Baritone Christòpheren Nomura has
emerged at the forefront of the new generation of American singers. Since making
his New York City debut, he has performed throughout the world, hailed as one of
classical music's "rising stars" by the Wall Street Journal.
Mr. Nomura has earned a prominent
place on the operatic, concert and recital stages.
In the realm of opera, Mr. Nomura
is a noted Mozartean, known for his portrayals of Don Giovanni, Papageno in
The Magic Flute, the Count in
Le nozze di Figaro and Guglielmo in
Cosi fan tutte. He has sung
Don Giovanni with the New Hampshire
Music Festival and New York Chamber Symphony; Papageno for his debut with the
Lyric Opera of Kansas City; Cosi fan tutte
for his Hawaii Opera debut and the count in
Figaro for his Opera Carolina debut. He has likewise had a strong
association with Puccini's Madama
Butterfly. He was Prince Yamadori in the SONY film of
Butterfly co-directed by Martin Scorsese and Frédéric Mitterand,
conducted by James Conlon. He sang Yamadori for his Boston Symphony debut under
Seiji Ozawa and the Imperial Commissioner for his debut with Dallas Opera. He
sang both of these roles for his Cincinnati Opera debut. He sang Figaro in
Il Barbiere di Siviglia for his debut
with the Skylight Opera of Milwaukee, returning as Enrico in
Lucia di Lammermoor. He sang Malatesta
in Don Pasquale for his Seattle Opera
debut in 2003 and his first Dandini in Rossini's
La Cenerentola for his debut with Lake George Opera.
Christòpheren Nomura has appeared
with many of the prominent North American orchestras, in wide-ranging
repertoire. He has appeared with the Boston Symphony, San Francisco Symphony,
Minnesota Orchestra, Saint Paul Chamber Orchestra, National Symphony Orchestra,
Orchestra of St. Luke’s, Vancouver Symphony, Indianapolis Symphony, Charlotte
Symphony , Pacific Symphony Orchestra, Utah Symphony Orchestra, Philharmonia
Baroque Orchestra and the Boston Pops performing under internationally renowned
conductors such as Leonard Bernstein, Seiji Ozawa, James Conlon, Sergiu
Comissiona, Christof Perick, Roger Norrington, Christopher Hogwood, Ton Koopman,
Bruno Weil, Andrew Parrott, and Nicholas McGegan. In 2006 he sang for the
Pacific Symphony Orchestra’s inaugural concerts in the new
Segerstrom Concert
Hall, in the title role for the premiere of
Philip Glass’ The Passion of Rama Krishna,
conducted by Carl St. Clair. That season also brought debuts with the Baltimore
Symphony under Louis Langrée and the North Carolina Symphony under Grant
Llewellyn. In 2008-9 he premiered Alva Henderson’s
From Greater Light with the Pacific
Symphonny and made his debut with the Oregon Bach Festival singing Haydn’s
Creation under Helmuth Rilling. Among
the highlights of 2009-10 were an appearance with Mo. Rilling in Los Angeles,
performances with Music of Baroque in Chicago, the Cincinnati Symphony and two
programs with the Cedar Rapids Symphony. Highlights of the 2010-11 season are
his debut with the Philadelphia Orchestra, his debut at the Cartagena
International Festival singing the Bach B Minor Mass with Dawn Upshaw, a repeat of Glass’
The Passion of Rama Krishna with the
Pacific Symphony and his return to the Oregon Bach Festival.
A noted Bach specialist,
Christòpheren Nomura has been a frequent performer with the Bach Choir of
Bethlehem, the Carmel Bach Festival, Music of the Baroque, Baldwin-Wallace Bach
Festival, Handel & Haydn Society, Boston Early Music Festival, Boston Baroque
and the Berkshire Choral Festival. He has performed with Apollo's Fire,
Tafelmusik and the Philharmonia Baroque Orchestra. His collaborations with such
ensembles as the S'Kampa, Boromeo, Brentano and St. Lawrence String Quartets and
pianists Martin Katz, Dalton Baldwin, Charles Wadsworth, Jean-Yves Thibaudet and
William Bolcom have brought him to the leading American Chamber Music Festivals
in Santa Fe, Marlboro, Tanglewood, La Jolla, Spoleto, Music @ Menlo and the
Chamber Music Society of Lincoln Center.
Known for his deep commitment to
the art of the recital, he has given more than 250 recitals throughout North
America, Europe, Asia, South America and Africa. He has appeared at Lincoln
Center, the “Making Music” series at Carnegie Hall, the Bank of America
Celebrity Series in Boston, the Rising Stars Series at Ravinia, the John F. Kennedy Center in
Washington, DC and the Vancouver Recital Society, frequently combining
performances with in-depth residencies to introduce new audiences to classical
vocal music. He was
Artist-In-Residence with San Francisco Performances for four seasons – 2001-2005
– and returned for their 30th Anniversary season in 2009.
Among other notable performances,
he was invited to sing Bernstein's Mass
at the Vatican for the "Jubilee Year," in 2000 performing before an audience of
15,000 in the Salla Nervi, simulcast to some 200,000 people in Vatican Square.
Christòpheren Nomura's
discography includes recordings on the Sony, Dorian, Teldec, London, Denon, TDK
and L'oiseau Lyre labels. His recording of the Monteverdi Vespers of 1610 on
Telarc was nominated for a Grammy (Best Classical Ensemble Recording). He
recorded Schubert's Die Schöne Müllerin
for Well-Tempered Productions and Never Broken a solo recording of contemporary compositions released
in 2004 by Center Stage Records. All Is
Bright with Grant Llewellyn and the Handel and Haydn Society was released in
December 2005, debuting on the Billboard classical charts at No. 8 and named
Musicweb International's "Recording of the Month."
Mr. Nomura has been the recipient
of numerous awards and distinctions including a four-year Fulbright Grant to
study with Dietrich Fischer-Dieskau, Hermann Prey and Gérard Souzay. He was
winner of the Young Concert Artists International Auditions as well as the
Naumburg, United States Information Agency Music Ambassadors and the Marilyn
Horne Foundation competitions. He holds a Masters degree and Artists Diploma
from the New England Conservatory of Music.
Critical acclaim:
Cartagena International Festival:
“The most popular—and
populist—piece of the evening was the Largo al Factotum aria from The
Barber of Seville. Baritone Christòpheren Nomura appeared on stage drinking
a glass of wine, then ran to the microphone just in time to begin singing,
accompanied on piano by the festival’s artistic director, Stephen Prutsman.
Within seconds, the audience was laughing. Although the aria is very demanding
technically—with its constant singing of triplets, allegro vivace (quick
and lively) tempo, and tongue-twisting Italian superlatives (everything ending
in –issimo)—you would never know, given the levity and humor Nomura
brought to it. Coming close to the end, he rendered the repeated ‘Figaros’ for
which the piece is known with especial gusto. At one point, he even called out
to the audience.”
Americas Quarterly –
January 11, 2011
Vaughan Williams’ Five Mystical Songs at the New Hampshire Music Festival:
“Five Mystical Songs received a compelling and sumptuous performance by
baritone Christòpheren Nomura. Lewis was with the richly experienced Nomura at
every turn, and the baritone wove a thread of moving intensity into every line,
taking us to the very heart of these surpassing poems and the music that
illuminates it ever further. It is difficult to imagine a more beautiful
performance of this work.”
Boston Musical Intelligencer - August 10, 2010
Pacific Symphony, Music Director Carl St. Clair’s 20th Anniversary concert:
“Christòpheren Nomura
arrived to sing Mahler's ‘Ich bin der Welt abhanden gekommen,’ one of the
composer's gorgeous farewells, dispatched with intimate feeling by Nomura,
accompanied raptly by St.Clair.”
Orange County Register - May 19, 2010
Bethlehem Bach Festival:
“Bach's Magnificat in D displayed Christopheren
Nomura's bass-baritone, stunning in his arias.”
Bethlehem Press - May 12, 2010
“Bass-baritone Christòpheren Nomura excelled in a booming performance of ‘Ich
will’.”
Morning Call - May 9, 2010
Five stars out of five:
“Dominating the solo voices was baritone
Christopheren Nomura, who portrayed Jesus with a booming, resonant voice. He was
the only musician to perform from memory, giving him a dramatic edge that he
used to great advantage.”
Birmingham News - April 10, 2010
Tucson Winter Festival:
"The cast for Ravel's 'Chansons madécasses'
included the formidable baritone Christopheren Nomura, who brought lusty,
lyrical vocals to the erotically tinged songs."
Arizona Daily Star - March 12, 2010
“Portraying their roles with deep conviction
were soloists Christòpheren Nomura, Gillian Keith, Clare Wilkinson, Alan Bennett
and Craig Phillips.”
Washington Post - February 23, 2010
Mahler with the ProMusica Chamber Orchestra:
“Nomura’s rich, supple voice conveyed the
despair of unrequited love in ‘Wenn mein Schatz Hochzeit macht,’ the joy of
spring in ‘Ging heut’ Morgen uber’s Feld’ and the passion of jealousy in ‘Ich
hab’ ein gluhend Messer’.”
Columbus Dispatch - February 7, 2010
“One of the evening’s highlights was the bass
air, “The trumpet shall sound,” with Christòpheren Nomura, who has appeared with
Cincinnati Opera, and principal trumpet Robert Sullivan. Each artist embellished
their solos wonderfully, and together their artistry was stunning.”
Cincinnati.com - December 17, 2009
“The baritone was remarkably good, infusing
his lines with emotion, drama, mystery, and – always – immense dignity.”
Classical Voice of NC - December 6, 2009
“Possessing an imposing instrument, bass
Christòpheren Nomura as the villain of the piece Polyphemus.”
Chicago Classical Review - October 17, 2009
Orchestra Iowa, Cedar Rapids:
Headline: Orchestra Iowa stages monumental
concert
“Without a doubt, Orchestra Iowa's 'Burana
at Brucemore' was the finest program I've seen in 27. And what a stellar night
it was, from the concert's majestic beginning to triumphant ending, peppered
with bravoes, cheers, whistles and standing ovations throughout. Baritone
soloist Christopheren Nomura gave everyone the shock of the evening. Calmly
lounging on a blanket in the audience during the opening piece, he heard the
opening passages to his piece, jumped up, gulped his wine, grab his tux jacket -
and started singing from the audience. He darted through the crowd, sang to some
kids down front, plopped in an empty lawn chair, then sprinted up the ramp to
take his rightful place centerstage. The ruse was totally hilarious and
appropriate for his role as Figaro in the instantly recognizable “Largo al
Factotum” from “The Barber of Seville.” He completely charmed the crowd with
Figaro's bravado, and drew an immediate standing ovation. He raised the bar
high. The vocal soloists were superb in their physical interpretations of
the text, and the orchestra has never sounded better. I could go on and on with
accolades. Suffice it to say, this concert was monumental in every sense.”
Cedar Rapids Gazette - September 13, 2009
“Chistòpheren Nomura balanced dignified
phrasing with genuine feeling. You couldn't ask for more.”
Orange County Register - August 9, 2009
Haydn's "Creation," Oregon Bach Festival:
"The performance offered many excellent
moments, including elaborate arias for baritone Christopheren Nomura."
Oregonian - June 27, 2009
“But baritone Christòpheren Nomura was
often deeply affecting, as in his final solo and in his singing of “after the
blast of light’ning,” from the Sanctus.”
SFClassicalVoice - April 23, 2009
Bach Christmas Oratorio, Baldwin Wallace Bach
Festival:
“The account featured fine contributions from
several prominent guest soloists. Christopheren Nomura’s
authoritative declamation and keen phrasing proved gripping in the
baritone solos.”
Cleveland Plain Dealer - April 19, 2009
Hindemith's “Lilacs” Requiem, Cathedral
Choral Society, Washington, DC:
“Christòpheren Nomura sang with stentorian
power, preserving the force and beauty of his voice all the way to the work's
conclusion.”
Washington Post - March 10, 2009
Bach's "Christmas Oratorio" with the North Carolina Symphony:
“The soloists were all outstanding. As good as these were, it was when bass
Nomura first sang that you could sense a collective ‘wow’ creep through the
auditorium. Although he held his score at his side, he never looked at the music
and the power and depth of his voice was tornadic in its effect.”
Classical Voice of NC - December 7, 2008
Adams' "El Nino" Choral Arts Society, DC
“Christopheren Nomura did vivid work.”
Baltimore Sun -
May 30, 2008
“Nomura at his most impressive."
Washington Post - May 20, 2008
Mahler and Schubert with the Peoria
Symphony:
"The Mahler was heart-stopping. The
feelings represented in these songs are vividly and precisely represented.
Nomura's baritone proved flexible and sensitive to the text. Nomura's ability to
capture subtle and not-so-subtle changes in the music was striking. The second
song, for example, begins joyfully with all the freshness of morning and then
almost imperceptibly passes into dreaminess; Nomura realized this shading over
from one mood to the other with great sensitivity." Peoria Journal Star - April
28, 2008
Jesus in Bach’s
St. Mattehw Passion, Music of the Baroque, Jane Glover, conductor:
"Baritone Christopheren Nomura sang the
part of Jesus as if wayward souls depended on it. If there's a blueprint for the
portrayal of God's son in the leading hours to his crucifixion, Nomura's bold
and courageous enactment ought to be it."
Chicago Sun Times - April 2, 2008
Mahler
Songs of a Wayfarer, Memphis Symphony:
“The sweetest relationship was found in Mahler's
"Songs of a
Wayfarer," with baritone Christopheren Nomura and the MSO making
beautiful music together. Nomura was terrifically
controlled and expressive
while Maestro David Loebel led the MSO in an
eloquent, carefully balanced
accompaniment.
”
Commercialappeal.com
- November 18, 2007
Rauschenberg in Scott Wheeler's "The Construction of Boston," with Boston
Cecilia:
"Wheeler's Construction of Boston: "Makes you want to listen to the singing
voices, especially when the singers are baritone Christopheren Nomura as
Rauschenberg."
Boston Phoenix - April 5, 2007
“Baritone Christopheren Nomura was the stentorian Rauschenberg, his snapped
rhythms imposing weather and residents on the nascent city like a stern parent.”
Boston Globe - April 3, 2007
Bach's
"B Minor Mass" at the Berea Bach Festival in Severance Hall:
“The
vocal soloists were first-rate: baritone Christopheren Nomura, nobly
expressive.”
Cleveland Plain Dealer - April 23, 2007
Christus
in Bach's "St. Luke Passion" with the Washington Bach Consort:
"Nomura
sang the part of Jesus with the requisite empathy and calm."
Washington Post – March 20, 2007
Singing
Mahler and Ravel with the Annapolis Symphony:
“What hit home was Mahler's 'Songs of a Wayfarer' as performed by
baritone Christopheren Nomura. Sporting luxurious tone and a vocal range that
takes him from powerful notes in the lower register to a drop-dead gorgeous
voice up high, Nomura entered the spirit of these remarkable songs with as open
a heart as one could wish for on Valentine's Day weekend. In the opening song,
he explored every emotional dimension of Mahler's halting testimony to love,
loss and resignation as the lover contemplating his beloved's marriage to
someone else. Mahler was a composer of tremendous extremes. Nomura conveyed this
in Ging heut' morgens ubers Feld, where gentle joy mingles with wistful sadness,
then morphs into the rage of Ich hab'ein glühend Messer, which articulates the
torment of betrayal with scorching empathy. And it would be hard to imagine a
sweeter, more romantic surrender to the joys and sorrows of life than Die zwei
blauen Augen, which Nomura sang with aching beauty as the cycle ended. Novo and
his players played wonderful hosts to their visitor, following him with complete
conviction through an expressive score replete with interpretive challenges.
They also hit the mark as they joined Nomura in Ravel's three Don Quixote songs
addressed to the knight's love, Dulcinea The songs run the gamut from rapt
spirituality to drunken abandon; and Novo, his soloist, and his players brought
all of it home with an irresistible charm no one could resist, certainly not in
the shadow of Valentine's Day.”
Baltimore Sun – Feb. 23, 2007
Bach’s
“Coffee Cantata,” Chamber Music Society of Lincoln Center:
“Aler
and Nomura were first-rate colleagues in the 'Coffee' Cantata.”
New York Times – December 12, 2006
Bach Cantatas, Washington Bach
Consort:
“Of
a solid quartet of soloists, Christopheren Nomura stood out; his light, agile
voice and his immaculate German diction easily ranged from stentorian
recitatives to memorably lyrical arias." Washington Post - May 9, 2006
Handel Messiah, Philharmonia
Baroque Orchestra, Nicholas McGegan, conductor
Named to SF Classical Voice’s
“best of the year” list.
“Baritone Christòpheren Nomura
sang expressively, ornamenting tastefully, and rarely, if ever, looking at his
score. 'Behold, I tell you a mystery' was a magic moment, McGegan starting the
orchestra pianissimo and Nomura keeping it down until, in the twinkling of an
eye, the last trumpet appeared." SFCV.org – January 3, 2006
Barber’s
Dover Beach with the Cypress String
Quartet:
“The Cypress was joined by
Christopheren Nomura, a remarkable artist. Barber's Dover Beach's dark lyricism
found its voice in Nomura's delivery: round and firm through all registers, full
of heft and weight, then smoke and twilight. Il Tramonto's every emotion and
narrative turn was conveyed deftly by Nomura, a fine actor. And his voice: here,
it was almost weightless, floating into the upper register, sheerly beautiful.”
San Jose Mercury News - December 6, 2005
“The
other attraction in the concert was the unusual combination of baritone with
string quartet, featuring Christopheren Nomura.
Nomura interprets such pieces so soulfully, so reverberantly in his rich
sonic texture, no performance of his lapses into mere narration.”
Artssf.com Week of December 6-13, 2005
All
Is Bright, with the Handel and Haydn Society, Grant Llywellyn,
conductor
“The involvement of baritone
Christopheren Nomura is luxury casting indeed. He's a noble soloist producing a
splendidly round sound. This is as fine a performance of the piece as I've
heard. With Nomura on hand, the inclusion of Howell's 'A Spotless Rose' was
logical. He makes a mellifluous contribution to an excellkently prepared account
of this carol. The disc ends with a setting of Hodie Christus natus est, this
time by Tom Vignieri. This piece was commissioned by Grant Llewellyn for the
choir and here receives its first recording. There's an important part for solo
baritone, which suggests to me that it may have been commissioned specifically
with this CD and the participation of Nomura in mind. He sings splendidly once
again. This is as fine a Christmas disc as I've heard in a long time. If you're
looking for a seasonal gift for a musical friend this year then this could be
the perfect solution. But one word of warning. Don't sample it first or you may
be tempted to keep it instead as a treat for yourself. I'm certain that this
excellent CD will be in my player this Christmas Eve!”
Musicweb Intl. - November 28, 2005
“Christopheren Nomura contributes
resonant baritone solos.”
Boston Globe – December 9, 2005
Mahler and Ravel with the
Binghamton Philharmonic:
Headline: “Philharmonic, baritone
deliver inspired performances.”
“The Binghamton Philharmonic
wanted to present a heroic program, and that is certainly what they delivered
Saturday night to start their 50th season. The soloist for the evening was
Christopheren Nomura, who has the best upper range of any baritone I've ever
heard. Nomura sang his way through Mahler's
Songs of a Wayfarer with excellent diction and expression. You didn't have to look at
the translation provided to know he was singing 'I have a glowing dagger ... in
my breast.' The cycle by Ravel, Don
Quichotte a Dulcinee, was significantly more upbeat, even going so far as to
include a Drinking Song, which Nomura
hammed up, bobbing and weaving to the castanets.”
Binghamton Press, October 2, 2005
Recital with soprano Harolyn
Blackwell, San Francisco Performances:
“Both performers have obvious
strengths, and each offered some splendid singing over the course of the
evening. Nomura stakes everything on the bluff charm of his artistry, which
comes through in his tonally robust delivery and his vigorous stage presence.
The result is athletic and thrilling. There were some radiant moments,
particularly in the set of Poulenc songs. Nomura began with four of the
'Chansons gaillardes' that he delivered with plenty of roguish swagger. Most
ravishing of all, though, was the final duet, 'Les chemins de l'amour,' with the
two vocal lines nestled enticingly together. Duets by Saint-Saëns and Gounod --
irresistible bonbons -- began each half of the program. Two extended sets of
German songs, graced by Nomura's rapturous, hushed account of Schubert's
'Wanderers Nachtlied'.”
San Francisco Chronicle - June 10, 2005
“Blackwell's infectuousness and
the captivating quality of Nomura's voice, as well as their charm as a couple,
might easily make criticisms of faults seem mere quibbles. Nomura is the picture
of the self-assured artist. His singing of 'balde' with its promise of surcease
from suffering was everything one could have wished for. Nomura has an enviable
beauty of tone in his upper range - throughout his range, in fact. Four songs
from Poulenc's 'Chansons gaillardes,' sung by Nomura, were delectable.”
SF Classical Voice - June 14, 2005
Bach
B Minor Mass as the Baldwin-Wallace
Bach Festival:
“Christopheren Nomura sang with
impressive fluidity.”
Cleveland Plain Dealer - April 25, 2005
Brahms
Requiem with the Charlotte Symphony,
Christof Perick conductor:
“Christopheren Nomura brought the
baritone solos the right gravity.”
Charlotte Observer, April 9, 2005
Bach
St. John Passion, Washington Bach
Consort:
“Baritone
Christopheren Nomura's Jesus was powerful and questioning.”
Washington Post, March 22, 2005
Bach
St. Matthew Passion, Washington Choral
Arts Society:
“A dignified, gorgeously sung
Jesus.”
Washington Post - March 15, 2005
Schubert songs: Music @ Menlo
Festival:
“Personable, earnest, dedicated,
the singer put his all into the music. His is a fine voice.”
SF Classical Voice - August 3, 2004
“Nomura's traversal of songs from
‘Die Schöne Müllerin’ as well as ‘Erlkönig’ ‘An die Musik’ and ‘Die Forelle’
sounded forthright.”
San Francisco Chronicle - August 4, 2004
Faure
Requiem, Grace Cathedral, San
Francisco:
“Nomura has achieved some measure
of fame in the world's opera houses and recital halls. He is deservedly
well-known for his dramatic abilities in both of these arenas; his face is
expressive and his voice capable of conveying subtle gradations of torment or
wit. His big baritone resounded through the cavernous cathedral during his solos
in the Offertoire and Libera me, perfectly in tune and focused and with all the
emotion those dark texts require.”
SFCV - June 22, 2004
Vaughn Williams
Dona Nobis Pacem, National
Philharmonic:
“Christopheren Nomura's hearty,
sweetly lyrical bass sounded perfectly idiomatic.”
Washington Post - June 8, 2004
Bach's
St. Matthew Passion with the
Washington Bach Consort:
“Nomura's magisterial
bass-baritone offered a Jesus of enduring love.”
Washington Post - May 11, 2004
Bach
Coffee Cantata, Apollo's Fire,
Cleveland:.
“As her harried father,
Christopheren Nomura was all huff-and-puff bluster, with a sonorous baritone, to
boot.”
Cleveland Plain Dealer - May 3, 2004
Baldwin Wallace Bach Festival:
“Baritone Christopheren Nomura
played Jesus with plenty of temperament.”
Cleveland Plain Dealer - April 26, 2004
Carnegie Hall's "Making Music"
series:
“Sung with an endearing innocence
by Christopheren Nomura”
New York Times - March 12, 2004
Guglielmo in Mozart's
Cosi fan tutte, Hawaii Opera:
“Baritone Christopheren Nomura
showed impressive flexibility in vocal 'fioritura' as well as excellent comic
timing in recitatives.”
Honolulu Star Bulletin - February 16, 2004
“Christopheren Nomura, an
eloquent baritone, capered about, adding youthful charm.”
Honolulu Advertiser - February 15, 2004
Bach's
Christmas Oratorio, New York Baroque
Soloists, Orchestra of St. Lukes:
“Another of the afternoon's
bright spots - in fact, its brightest - was the performance of Christòpheren
Nomura. His was the most polished voice of the bunch. He always sang on top of
his beats, and his beautifully honed power-voice was distinguished by lucid
diction. His broad phrases in 'Grosser Herr' showed a singer who loves and
deserves the stage, and his nuanced duet showed him as a sensitive chamber
musician concerned with the ensemble's overall product.”
New York Sun - January 6, 2004
Recital, Artist-in-Residence,
San Francisco Performances:
Nomura's presentation showed the
artist to be in top form as he enchanted the audience with his engaging
personality and mastery of vocal production and interpretation. Nomura is the
consummate musician and knows exactly what he's doing. His well-placed baritone
rings with a vibrancy that is secure in its entire range. 'Fach' is a German
word that defines a singer's specialty. Nomura's fach is that of appealing
directly to his audiences in a manner that brings to life the music that he is
singing.”
Hokubei Mainichi - December 5, 2003
Bodorova's
Terezin Ghetto Requiem with the
S'Kampa Quartet:
“Nomura's elegant tonal quality,
enhanced by his considerable musical and poetic sensibilities, provided urgency
and meaning. Although not cast within Terezin's stark, thick walls, it's impact,
enhanced by Nomura's glorious lyric baritone, was no less powerful. This is a
work likely to become one of the most soulstirring, ultimately hopeful pieces of
the late 20th century.”
Oakland Tribune - November 21, 2003
“The passion in her musical
harmonies and her pleas for tolerance are honored fully by the Skampa and
Nomura, who convey her meaning with deep conviction and sensitive artistry. In
particular, Nomura delivered a powerful vocal interpretation summing up in his
rich, beautiful voice the emotional intensity of Borodova's plea.”
Monterey Herald - November 18, 2003
“The ensemble was joined by the
redoubtable baritone Christòpheren Nomura. Nomura sang with gusto and
sensitivity.”
San Francisco Chronicle – November 18, 2003
“This
work features an important part for a baritone, sung by the distinguished
Christòpheren Nomura. Mr. Nomura's singing was intense and heartfelt. The use of
both Catholic and Jewish texts tended to reflect the contrast between two
cultures, and we had to marvel at how expressive Mr. Nomura was in these two
styles.”
Peninsula Reviews - November 14, 2003
Dandini in Rossini's
La Cenerentola, Lake George Opera
“Baritone Christòpheren Nomura
played Dandini to the hilt, singing gorgeously while scurrying about the stage
to avoid the two man-crazy siblings.”
Schenectady Gazzette – July 10, 2003
“Christòpheren Nomura made a
dashing Dandini.”
Times Union – July 7, 2003
“Dandini,
brightly sung by baritone Christòpheren Nomura, is having the time of his life
pretending to be the Prince and being fawned over by the shallow stepsisters.”
The Saratogan – July 8, 2003
Baritone Soloist, Bach and
Schubert, San Francisco Symphony, c. Bruno Weill:
“Baritone Christopheren Nomura --
sang well, particularly in the solo interjections of the Kyrie.”
San Francisco Chronicle - March 22, 2003
“Bass
Christopheren Nomura sang with rounded, resonant tone.”
Contra Costa Times - March 22, 2003
Baritone Soloist, Glass
Symphony No. 5, Indianapolis Symphony,
c. Carl St. Clair:
“From the strong complement of
five soloists came the attitude of an oracle from baritone Christopheren
Nomura.”
Indianapolis Star - March 8, 2003
Malatesta in
Don Pasquale, Seattle Opera:
“Christópheren Nomura had
admirable style as Dr. Malatesta.”
Seattle
Post-Intelligencer – January 13, 2003
Brahms
Requiem, Berkshire Choral Festival
conducted by Jane Glover:
“The Festival mounted a stirring,
deeply felt performance that will linger long in the memory. Baritone
Christopheren Nomura's third-movement plea soared over the orchestra with deep
feeling and warmth. Vocally secure and keen in their understanding of the text,
both soloists added an extra measure of humanity and repose. The standing
ovation that followed (richly deserved) served as a tribute to the combined
inspiration of a brilliant conductor, a dedicated chorus, top-level soloists and
an orchestra that clearly outdid itself.”
Berkshire Eagle - August 13, 2002
Chou En-Lai in John Adam's
Nixon In China, Colorado Music
Festival:
“The Chinese contingent was led
by Christopheren Nomura's wonderfully shaded Chou.”
Rocky Mountain News, July 20, 2002
Bach
St. Matthew Passion, Washington Bach
Consort:
“Singing from memory, baritone
Christopheren Nomura delivered Jesus' lines with affecting warmth.”
Baltimore Sun - March 4, 2002
Handel
Messiah, Apollo's Fire, Severance
Hall, Cleveland:
“Baritone Christopheren Nomura
sounded calmly heroic as he adroitly negotiated melismatic passages, then
triumphed in collaboration with obbligato trumpeter Barry Bauguess.”
Cleveland Plain Dealer – December 7, 2001
Schoenberg's
Ode to Napoleon, Los Angeles
Philharmonic:
“Christpheren Nomura was impressive, with a booming voice and exacting sense of rhythm.” Los Angeles Times – November 1, 2001