Welcome

OPERA is one of the most demanding and complex art forms around. It incorporates numerous musicians, scenery, lighting, costumes and technicians to breath life into this truly magical and monumental art. I am lucky enough to make my career in just one small part of this machine.


As a vocal performer there are numerous hours of study, preparation, vocal exercises, health concerns, traveling, rehearsing scenes, memorizing staging and intentions, not to mention the languages. It is constantly new and exciting and it is why I absolutely love what I do! There are no second takes; you are “live” every moment you stand on stage - if you stumble, you must recover, if you lose yourself in the moment, you must get back on track.

A new opera season emerges over the horizon and it is chock full of great roles, operas and drama! I open the 2016/17 season making my Vienna Staatsoper debut as Don Jose in CARMEN. This is one of the few major European opera houses that I have yet to appear in, and I am utterly thrilled to be doing so in one of my favorite roles. I will then be debuting a role in one of my favorite opera houses in the world -- Enee in LES TROYENS at the Lyric Opera of Chicago. This will be a new production by Tim Albery, conducted by Sir Andrew Davis and featuring some amazing talent. I will also be returning to the Metropolitan Opera in one of my favorite operas, RUSALKA, in new production by Mary Zimmerman and conducted by Mark Elder. It will be broadcast live to theaters around the country on February 25th. Following on from there, in March of 2017 I will be returning to the Lyric Opera of Chicago as Don Jose in a new Rob Ashford prodction of CARMEN. April of 2017 will see my return to the Deutsche Oper Berlin and reuniting with two wonderful colleagues, Eva-Maria Westbroek and Don Runnicles, in DIE WALKÜRE. Then it’s onto Vienna and another despicably delectable character, Segei in LADY MACBETH OF MTSENSK. Next, I am fortunate to be singing Schoenberg's GURRE-LIEDER under Sir Mark Elder’s baton in my Hallé Orchestra debut. It’s a piece which stands head and shoulders above all other oratorios in terms of difficulty, scope and reward. Finally, I’ll round out my season with my return to another of my favorite houses, Opernhaus Zürich, as the title role in Andreas Homoki’s LOHENGRIN under the baton of Maestro Fabio Luisi. It looks to be one hell of a season, and I am knee deep in preparation, anticipation and excitement!

Opera is a living, breathing, morphing behemoth that is tamed each and every night it is performed. For the audience, it is unlike any other experience they will ever have. It can be a gateway to unknown recesses of one's soul, or the path to emotions that are simmering beneath our everyday existence. With an open heart, an open mind and a good production, it will become something magical. This is what I strive for.

 

Do yourself a favor, go lose yourself in an opera. I hope to see you there!
...Ciao!

About Brandon

Brandon Jovanovich head shot by Kristen Hoebermann
Brandon Jovanovich photographed by Kristen Hoebermann
NYC, 2014

Brandon Jovanovich head shot by Kristen Hoebermann
Brandon Jovanovich in Lady Macbeth von Mtzensk
Photo by Monika Rittershaus | Opernhaus Zürich, 2013

Brandon Jovanovich head shot by Kristen Hoebermann
Brandon Jovanovich performing at the Verbier Festival
Switzerland, 2014

Brandon Jovanovich
Praised by The Wall Street Journal for his “ardent, heroic tenor and strong acting,” Brandon Jovanovich is sought after by the world’s finest opera companies for his passionate stage portrayals of leading roles in French, Italian, German, and Slavic opera.


The 2016/17 season will see Brandon Jovanovich make his house debut at the Wiener Staatsoper as Don Jose in Carmen, plus he returns to Lyric Opera of Chicago, The Metropolitan Opera, Deutsche Oper Berlin, and Opernhaus Zürich. On the concert platform Mr. Jovanovich will make his debut with the Hallé Orchestra, singing Schoenberg's Gurre-lieder under the baton of Sir Mark Elder. 

Scheduled highlights in Brandon Jovanovich's 2015/16 season included two roles debuts -- Tambourmajor in Wozzeckat Opernhaus Zürich and Walther in Die Meistersinger von Nurnberg at San Francisco Opera under the baton of Sir Mark Elder, plus a much-anticipated house debut with L'Opéra National de Paris in the same role under the baton of Philippe Jordan. The singer also returned to the Bayerische Staatsoper in Munich as the Chevalier des Grieux in Puccini’s Manon Lescaut conducted by Asher Fisch, and as Don José in Bizet’s Carmen under the baton of Dan Ettinger. Mr. Jovanovich concludes the season with his company debut at Opera Australia as Don José in a new production of Carmen.

Mr. Jovanovich opened the 2014/15 season at San Francisco Opera as Sam in Carlisle Floyd’s Susannah in a new production by Michael Cavanagh, followed by his return to the Metropolitan Opera as Sergei in Shostakovich’s Lady Macbeth of Mtsensk under the baton of James Conlon. Other operatic highlights of Mr. Jovanovich’s season included Walter in Lyric Opera of Chicago’s highly-anticipated production of Mieczyslaw Weinberg’s The Passenger and a reprise of his acclaimed Florestan in Beethoven’s Fidelio at Opernhaus Zürich under the baton of Fabio Luisi. Orchestral engagements included Beethoven’s Missa Solemnis with the Los Angeles Philharmonic and San Francisco Symphony, both under the baton of Michael Tilson Thomas, and in his Vienna debut performing Janacek’s Glagolitic Mass with the Czech Philarmonic Orchestra . Concert performances of Fidelio with Michael Tilson Thomas and the San Francisco Symphony, plus his New York Philharmonic debut in Verdi’s Requiem under the baton of Alan Gilbert.

Highlights of Mr. Jovanovich’s recent seasons include the Prince in Sir David McVicar’s new production of Rusalka at Lyric Opera of Chicago; Don José in Carmen at LA Opera conducted by Plácido Domingo, The Dallas Opera conducted by Emmanuel Villaume, Opernhaus Zürich conducted by Vasily Petrenko, and in a new production at Houston Grand Opera; the title role of Lohengrin at San Francisco Opera conducted by Nicola Luisotti; Florestan in a new production of Fidelio by Andreas Homoki at Opernhaus Zürich, conducted by Fabio Luisi, and at the Verbier Festival under the baton of Marc Minkowski; Pinkerton in Madama Butterfly at LA Opera; the Chevalier des Grieux in Manon Lescaut at La Monnaie in Brussels; and Sergei in a new production of Lady Macbeth of Mtsensk with Opernhaus Zürich.

Recent concert work includes appearances with the Gürzenich-Orchester Köln under the baton of Markus Stenz, the Baltimore Symphony Orchestra, Lyric Opera of Chicago’s Millennium Park series, and the title role in a concert production of Lohengrin at Festival International de Lanaudière conducted by Yannick Nézet-Séguin. Mr. Jovanovich made role debuts in Wagner’s Der Ring des Nibelungen as Froh (Rheingold) and Siegmund (Die Walküre) with the San Francisco Opera in 2011 in the highly acclaimed production by Francesca Zambello, under the baton of Donald Runnicles, and his U.K. debut at the Glyndebourne Festival as Don José in David McVicar’s production of Carmen, conducted by Stéphane Denève. He later returned to Glyndebourne to sing the Prince in Dvořák’s Rusalka which was released as a live recording on Glyndebourne’s independent label.

Other career highlights include Les Contes d’Hoffmann at Teatro alla Scala; Bacchus in Ariadne auf Naxos with the Bayerische Staatsoper in Munich, Lyric Opera of Chicago, and Boston Lyric Opera; Don José in Carmen with Deutsche Oper Berlin, Gran Teatre del Liceu, Barcelona, Lyric Opera of Chicago, Bayerische Staatsoper, and the Metropolitan Opera; the title role in Don Carlos with Houston Grand Opera; the title role in Peter Grimes at Teatro di San Carlo in Naples; and Cavaradossi in Tosca with the Canadian Opera Company, Oper Köln, Seattle Opera, l’Opéra National de Bordeaux, de Vlaamse Opera, and the Bregenz Festival, which was featured in the James Bond film Quantum of Solace. Mr. Jovanovich’s Pinkerton has been seen at Santa Fe Opera, The Dallas Opera, New York City Opera, LA Opera, and San Francisco Opera, where it was broadcast in high-definition in movie theatres across the United States.

A native of Billings, MT, Brandon Jovanovich received his training at Northern Arizona University and Manhattan School of Music. He was the recipient of the 2007 Richard Tucker Award and was twice a New York City district winner in the Metropolitan Opera National Council Auditions. He was a founding member of the Seattle Young Artists program and was a member of the Santa Fe Opera Apprentice program, where he was given the Anna Case Mackay award Award. He won the Crawley Award from the Young Patronesses of the Opera/Florida Grand Opera Voice Competition and in 2004 he was given the prestigious ARIA Award.

UPDATED SEPTEMBER 2016

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2016/17 Performances

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"Jovanovich deployed a silky-smooth, deceptively powerful, pure tenor that dripped with equal parts majesty and ardor"

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SCHOENBERG: Gurrelieder
Released June 2015 by Hyperion

Markus Stenz conducts the Gürzenich Orchestra
"Brandon Jovanovich brings a rugged vocal handsomeness to Waldemar, and there is a touching sensitivity and slight vulnerability in the timbre – a Heldentenor with a ringing top who retains some lyrical colour. ...He has all the notes under his belt."
-Hugo Shirley, Gramophone

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"Jovanovich has a major-league tenor sound"

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