After having been discovered by a voice teacher while pursuing a career as a singer/songwriter in his twenties, Christopher went on to receive a wonderful education at the San Francisco Conservatory of Music.
Currently Christopher coaches with Maestro William Vendice in Los Angeles and studies vocal technique with Mark Nicholson in New York. (please click CV to see a full listing of teachers, education and roles performed)
Christopher has had the pleasure of performing in the San Francisco Bay Area, Los Angeles (LA Opera), Washington DC, Boston, Italy, England, China, France and Germany.
Favorite roles performed are Mario Cavaradossi in Puccini’s tragedy “Tosca”, Hoffmann in Offenbach’s “The Tales of Hoffmann”, Don Jose in Bizet’s “Carmen”, Il Duca di Mantova in Verdi’s “Rigoletto” and Tsar Berendey in the United States Premiere of Rimsky-Korsakov’s “Snegurochka”.
Upcoming for Christopher is Rodolfo in Puccini’s beloved “La Boheme”.
“La fleur que tu m’avais jetée” – Carmen, Bizet
Celestial Opera Company’s production of Bizet’s Carmen, filmed by Voyager Probe Productions
Happy to have finished my first run of a Tosca production as Mario Cavaradossi. What a thrilling role to sing and I am grateful for the opportunity. Here is the final aria from yesterday’s performance recorded on the phone of an audience member. (Translation below)
(from a live performance on Dec. 10, 2017)
The stars were shining, And the earth was scented.
The gate of the garden creaked And a footstep grazed the sand…
Fragrant, she entered And fell into my arms.
Oh, sweet kisses and languorous caresses,
While feverishly I stripped the beautiful form of its veils!
Forever, my dream of love has vanished.
That moment has fled, and I die in desperation. And I die in desperation!
And I never before loved life so much, Loved life so much!
I am excited to have been selected to sing in a Master Class by internationally famous tenor, Vittorio Grigolo, next week! (through Angels Vocal Art in Pasadena)
Since I will be singing the role of Hoffmann, in Offenbach’s “The Tales of Hoffmann”, for Repertory Opera Company this June AND since Vittorio Grigolo is singing Hoffmann for Los Angeles Opera’s current production … I am looking forward to getting coached on the Kleinzach aria by a star currently doing the role!
Here’s a recording of Mssr. Grigolo performing the aria:
I have greatly enjoyed being a part of Peter Mark’s Master Class series this winter. There have been new and difficult lessons … but that is always the case when honing one’s skills and advancing. You fall down and get back up, moving ever onward.
As a result I feel like my technique is finally approaching a level that I would call “beautiful singing” … the kind of singing that is nuanced and luxurious. We are our own worse critics, so it is exciting to me to actually feel that way. Now, of course, it is time to get that embodied so it becomes completely natural.
Fortunately I have the perfect opera lined up to help me along that path toward technical embodiment … Offenbach’s “The Tales of Hoffmann” in June!
For now, my focus is on this weekend. We will be singing in front of a panel featuring music professionals from Los Angeles Opera, San Diego Opera, Long Beach Opera, KUSC and more. I will be singing “Donna non vidi mai” from Puccini’s “Manon Lescaut”.
Looking forward to performing a secondary role with Pacific Opera Project in their upcoming production of Rossini’s “The Barber of Seville”.
After a busy summer of singing Don Jose in Bizet’s masterpiece “Carmen”, filling in as a last minute Alfredo Germont for a company in need of a tenor for Verdi’s “La Traviata” and then taking part in a wonderful series of master classes in Beverly Hills with Maestro Peter Mark … Christopher is very much looking forward to the fun and hilarity that has been every POP production he has been involved in.
If you want to laugh all night long at what will be an amazing cast while hearing beautiful music and talented singers … you can buy your tickets here: https://app.arts-people.com/index.php?ticketing=pop
Worked on a brand new aria this past weekend in my master class with Maestro Peter Mark (hence the fact that it is not completely memorized as evidenced in the video). 😉
To set up this clip, Maestro Mark had asked me to walk around to get my legs and core engaged.
In terms of the high C’s, the Maestro talked about the importance of “exploding”, or creating a wind tunnel, backwards on the lower note directly preceding.
You can hear how I successfully did this on the first four high C’s, but then the second set of four I did not and the C’s were thinner and not as solid. The Maestro stops me and motions (off camera) backwards out the back of his head on the lower note. Once I corrected off this instruction the last three high C’s were solid again.
Exciting work! Now to get all this memorized and in my body. 🙂
Continuing to work on the the sustained High C with various arias. It feels so great to have had the breakthrough where this feels relatively easy to me now.
This past week I worked with my coach, Maestro William Vendice, on “Ecco ridente”, from The Barber of Seville by Rossini. The amount of time Maestro Vendice instructed me to hold out the note made my eyes widen … but sure enough, I was able to manage. Such a great feeling! 😉
I have been taking part in a series of master classes in Beverly Hills with Maestro Peter Mark and had a significant vocal breakthrough this past weekend.
Of course, such breakthroughs are also a result of the work I’ve done with teachers and coaches on a regular basis … it all adds up to whatever metaphor or instructive device it is that has you “get” something. So along those lines I also acknowledge the many hours spent working with Maestro William Vendice, Renee Sousa and Timothy Leon (all of whom I work with regularly).
Anyhow, I just began working on “Ah! mes amis, quel jour de fête!“, from La fille du régiment by Donizetti. For those who don’t know, this is the famous aria for tenor featuring nine high C’s.
I have always had a high C … but these recent breakthroughs have made it so that I feel comfortable sustaining it for however long I feel like. Which is profoundly an amazingly satisfying … I always wondered how Pavarotti used to do that!