American tenor Mark Nicolson possesses a uniquely beautiful lirico spinto voice coupled with a stunning stage presence and an authentic, natural charisma. Mentored by some of opera's most legendary artists, he has developed an extensive repertoire encompassing Italian, French, German, Czech and English roles to which he brings a mastery of diction, style and phrasing.

Mr. Nicolson has sung Cavaradossi in Tosca at the Palacio de Belles Artes in Mexico City, L'Opéra de Québec, the Atlanta Opera and New Zealand's Canterbury Opera. His performances of Pinkerton in Madama Butterfly took him on an eight month tour throughout Great Britain with England’s Opera North and to the Mississippi and Baton Rouge Operas. He portrayed Radamès in Aida with the Orchestra Philharmonique International at Radio France (Paris) and also with Opera Illinois as well as Calaf in Turandot with the Coro Lirico. He sang Bacchus in Ariadne auf Naxos with New Orleans Opera and Tamino in Die Zauberflöte with the Hong Kong Arts Festival and the Dublin Grand Opera. Read More

Mr. Nicolson has to his credit the lead roles of Don José in Carmen with the Festival Cervantino, the Orquesta Sinfónica Nacional in Mexico City, and St. Petersburg Opera, Gounod’s Faust with the New Orleans Opera, Central City Opera and the Mercury Theatre in New Zealand, Des Grieux in Massenet's Manon in Seoul, Korea and Rodolfo in La Bohème in Tampa and Dallas. He also sang Alfredo in La Traviata with Opera Omaha where he returned to sing the arduously difficult role of Pirro in the American stage premiere of Rossini’s Ermione followed by Gernando and Ubaldo in Rossini’s Armida, which he performed at the Minnesota Opera and Don Ottavio in Don Giovanni at the Mercury Theater and Virginia Opera. At the Wolf Trap Opera Mr. Nicolson performed the Male Chorus in Britten’s The Rape of Lucretia and the Prince in Prokofiev’s L’Amour des Trois Oranges and portrayed Lennie in Of Mice and Men with Opera Grand Rapids.

Mark Nicolson made his Carnegie Hall debut in Mozart's Requiem and was the tenor soloist in Verdi's Requiem with the Philharmonia Orchestra at England's prestigious Chichester Festival. He has performed with the Connecticut, Pittsburgh, Portland, Evansville and Omaha symphonies and the New Haven, Connecticut and New York Choral Societies in works including Händel's Messiah, Beethoven's 9th Symphony and Mahler's 8th Symphony. Read Less

“Addio fiorito asil” from Puccini’s Madama Butterfly

Bellini Sever - Norma Bizet Don José - Carmen Britten Peter Grimes - Peter Grimes Male Chorus - The Rape of Lucretia Floyd Lennie Small - Of Mice and Men Gounod Faust - Faust Händel  Samson - Samson Mozart Tito - La Clemenza di Tito Idomeneo - Idomeneo

Offenbach Hoffmann - Hoffmanns Erzählungen Puccini Rodolfo - La Bohème Dick Johnson - La Fanciulla del West Pinkerton - Madama Butterfly Des Grieux - Manon Lescaut Cavaradossi - Tosca Calaf - Turandot R. Strauss Bacchus - Ariadne auf Naxos Italian Tenor - Der Rosenkavalier Verdi Radamès - Aida Riccardo - Un Ballo in Maschera Don Carlo - Don Carlo Alfredo - La Traviata Manrico - Il Trovatore

Bach - Magnificat Beethoven - 9. Sinfonie Britten - Serenade (Op. 31) Händel - Messias Mahler - 8. Sinfonie

Mahler - Das Lied von der Erde Mozart - Requiem Rossini - Stabat Mater Verdi - Requiem Vaughan Williams - Serenade to Music

Diese Liste beinhaltet die empfohlenen, bzw. einstudierten Partien im Repertoire der Künstler. Eine Liste der aufgeführten Partien sind in den Künstlerunterlagen (Biografie/ Resume) auf die Künstlerseite unserer Website vorzufinden.

“Nicolson’s ravishing tenor is gorgeous, with a middle section that recalls the young Jose Carreras and a graceful, natural way with both French and Italian styles.”

THE WASHINGTON POST

“Mark Nicolson was a wonderful Cavaradossi. None of the buccaneer hero here. Cavaradossi is a hero of muted emotions. His sensuality and sensitivity are brilliantly depicted... Major and Nicolson appear to be in close professional harmony. Their voices - Major’s rich, seductive soprano and Nicolson’s burnished golden tenor - weave and dart around each other like dragonflies.”

THE PRESS (Christchurch, New Zealand)

“American tenor, Mark Nicolson (Cavaradossi), impressed with the sheer power of his voice, making light work of what can be a difficult acoustic. His acting was convincing and his musicality superb, particularly in the aria 'E lucevan le stelle'.”

CHRISTCHURCH STAR

“The honeyed tones of tenor Mark Nicolson, as Radamès, never disappointed. 'Celeste Aida' was heavenly. His performance throughout was ardent, lyrical, and memorable. Listening to him spin out phrase after beautiful phrase was a real pleasure.”

PEORIA JOURNAL STAR

“Mark Nicolson and Margaret Jane Wray as the Male and Female Chorus (RAPE OF LUCRETIA) projected authority and anchored the action...they were totally in command, both musically and in clarity of diction.”

OPERA NEWS and OPERA CANADA

“Artistic director Robert Lyall outdid himself with the casting of versatile actors and gutsy singers. Mark Nicolson as the giant, Lennie, and Michael Dean as his companion and caretaker, George, were superb as a pair. Nicolson, tall and husky, plays childlike innocence perfectly, cowering when in trouble, earnestly imitating George's gestures, tuning his friend out when he's "getting hell." Lashing out in bewilderment or in remorse, as he does more than once, his steely tenor came to the fore.”

THE GRAND RAPIDS PRESS

“We have saved for the end, the tenor Mark Nicolson, because he had a very special place in the concert. He made a huge impact on the audience with his vocal technique and his convincing interpretive manner, showing a great deal of quality. Nicolson uses his voice in an extraordinary way, singing through his registration with truth. AN ARTIST.”

EL PORVENIR (Monterrey, Mexico)