tenor

This versatile Korean-American tenor was most recently seen on stage making his highly acclaimed debuts as Goro in Puccini's Madama Butterfly with Palm Beach Opera and Pang in Puccini's Turandot in his debut with Seattle Opera. Ahn reprises the role of Goro in 2012 with Opera Carolina and Nashville Opera, and will also be engaged as Monastatos in The Magic Flute with Opera Carolina and Mark in Michael Tippett’s The Midsummer Marriage with Boston Modern Orchestra Project at Jordan Hall.

This versatile Korean-American tenor was most recently seen on stage making his highly acclaimed debuts as Goro in Puccini's Madama Butterfly with Palm Beach Opera and Pang in Puccini's Turandot in his debut with Seattle Opera. Ahn reprises the role of Goro in 2012 with Opera Carolina and Nashville Opera, and will also be engaged as Monastatos in The Magic Flute with Opera Carolina and Mark in Michael Tippett’s The Midsummer Marriage with Boston Modern Orchestra Project at Jordan Hall.

Ahn was recently a participating artist with the Sundance Institute Theatre Lab 2011 at The Banff Centre, as well as with the Sundance Institute Theatre Lab 2012 at White Oak, cast in the lead role of Guang in Stuck Elevator by Byron Au Yong and Aaron Jafferis. He will reprise the role with the American Conservatory Theatre in San Francisco in 2013.

Ahn's recent engagements also include Basilio and Curzio in Mozart's Le Nozze di Figaro with the Lyric Opera Baltimore; Sellem in Stravinsky's The Rake's Progress with Princeton Festival; Bégearss in Corigliano's The Ghosts of Versailles with Aspen Opera Theater Center; and Demo in Cavalli's Giasone with Chicago Opera Theater. He was also seen as Conrado in a workshop performance of Long Season by Chay Yew and Fabian Obispo, as part of Huntington Theatre Company's Breaking Ground Festival.

Named as one of Boston Lyric Opera's inaugural 2011-2012 Emerging Artists, this company favorite has also performed there as Ruffiano in John Musto's The Inspector, Tanzmeister and Brighella in R. Strauss' Ariadne auf Naxos, and Soldier in Viktor Ullmann's The Emperor of Atlantis. Ahn attended the New England Conservatory of Music, where he studied with world-renowned tenor Vinson Cole and performed a wide range of operatic roles.

Performances

Jordan Hall at New England Conservatory | November 10, 2012

News and Press

[Concert Review] Michael Tippett's Midsummer madness

The first American production of any of Michael Tippett's five operas was Sarah Caldwell's The Ice Break for the Opera Company of Boston in 1979. In 1991, BU students did The Knot Garden. This year, Opera Boston scheduled the first Boston production of The Midsummer Marriage, Tippett's first opera (completed in 1952, after six years of work). But Opera Boston folded.

The Boston Phoenix Full review
[Concert Review] A Phoenix Rises from the Ashes of Opera Boston

Boston opera buffs were dealt a hard blow last December when Opera Boston, a company known for innovative productions of less familiar repertory, announced it was shutting down amid a financial and managerial crisis. But the company’s ambitious plans were not entirely sent to the scrap heap of operatic history: Sir Michael Tippett’s opera, The Midsummer Marriage – planned as the centerpiece of the company’s 2012 season – was reconceived as a concert production Saturday at Jordan Hall by the Boston Modern Orchestra Project (BMOP).

WQXR Full review
[Concert Review] BMOP proceeds with Tippett's 'Midsummer Marriage'

Before a note was played, Saturday night’s Boston Modern Orchestra Project performance of Michael Tippett’s first mature opera, “The Midsummer Marriage,” generated more good will and broader public curiosity than the average season-opener. That’s because the now-defunct Opera Boston had this rarely spotted Tippett opera on its agenda long before the company abruptly folded last December.

The Boston Globe Full review
[Concert Review] BMOP gives worthy advocacy to Tippett's unwieldy "Midsummer Marriage'

One door closes, another opens. With the demise of the ambitious company Opera Boston last year, director Gil Rose lost a chance to explore some of the gems in the outermost reaches of the stage repertory.

Fear not. Rose simply brought one such rarity, Michael Tippett’s The Midsummer Marriage—slated last season for Opera Boston but left unperformed—to his other adventurous ensemble, the Boston Modern Orchestra Project. BMOP performed a semi-staged version of the mid-20th century opera Saturday evening at Jordan Hall.

Boston Classical Review Full review