Baritone Michael Weyandt continues to engage audiences with his “virile, ardent” singing and “notable characterizations” in a repertoire that spans from Handel’s earliest to living composers’ latest works.
This season includes his debuts with New York City Opera in Angels in America and Hawaii Opera Theater in La Bohème, the premiere of a new work with his multidisciplinary troupe the Atelier at Brooklyn’s Resonant Bodies Festival, performances of Eight Songs for a Mad King and Kagel with the Talea Ensemble, and the staged premiere of selections from When Adonis Calls for Opera America’s New Works Forum.
Mr. Weyandt has spent much of the last season in the performance and premiere of new works, including When Adonis Calls with Operamission (recently selected by Opera America for a 2017 fellowship); American Opera Projects’ Composers and the Voice series; a concert at National Sawdust of recent and upcoming operatic works, with American Lyric Theater; and concerts with the Da Capo Chamber Players at Merkin Hall and Bard.
His recent roles include Marcello and Schaunard in La Bohème with Lyric Opera of Virginia and Dicapo Opera Theater. He also worked on Gotham Chamber Opera’s innovative double-bill of Monteverdi’s Il combattimento di Tancredi e Clorinda and the world-premiere of Lembit Beecher’s I Have No Stories to Tell You. He then sang the world-premiere of Edward Hamel’s Approach Prune Destroy Begin with the renowned Talea Ensemble at the 2014 MATA Festival in New York City. In Europe, he performed as soloist with the Copenhagen Oratorio Choir in the Bach Christmas Oratorio and Handel’s Messiah, and also toured Lithuania with pianist Justas Servenikas in a recital featuring Schumann’s Dichterliebe and Barber’s Hermit Songs.
In the 2012-2013 season, he appeared as Schaunard in La Bohème with Opera Tampa and Maximilian in Fresno Grand Opera’s production of Candide. His performance in the North American premiere of Handel’s first opera, Almira, with Operamission in New York City, described by Anthony Tommasini of The New York Times as “movingly performed”. He also sang debuts with Bourbon Baroque in Rameau’s Les Sauvages and with the new music vocal ensemble Ekmeles in a premiere by New York composer Randy Gibson, and won the Art Song Preservation Society of New York’s Mary Trueman Vocal Arts Competition.
In 2011, Mr. Weyandt appeared with Maestro Lorin Maazel as Junius in The Rape of Lucretia, at Cal Performances in Berkeley, California. He then traveled to Maestro Maazel’s Castleton Festival to reprise his role as Marco in Gianni Schicchi, and appeared as Brother in Kurt Weill’s The Seven Deadly Sins. He returned to New York to perform Schaunard in Operamission’s La Bohème, followed by his first Count Almaviva in an outdoor performance of Acts I and II of Le nozze di Figaro, also with Operamission. He also premiered a work by composer Clara Latham with New York’s acclaimed Talea Ensemble, appeared in readings for Daniel Asia’s opera The Tin Angel with the Center for Contemporary Opera, and performed Mohammed Fairouz’s 2010 song cycle Furia, for baritone and chamber orchestra, with Ensemble 212.
In 2009-2010, Mr. Weyandt made his role debut as Masetto at the Tanglewood Music Festival, under the direction of Maestro James Levine. He then performed his first Belcore in L’elisir d’amore with Vera Musica, Ltd, followed by his role as Lockit the Jailer in Benjamin Britten’s reworking of The Beggar’s Opera and Marco in Gianni Schicchi, at Maestro Maazel’s Castleton Festival. That year he was also a prizewinner in the Liederkranz Vocal Competition’s General Opera division.
2007-2008 began a series of important engagements, beginning with the United States premiere of Olga Neuwirth’s opera Lost Highway, after the David Lynch film, at Columbia University’s Miller Theater. Mr. Weyandt then performed Guglielmo at the Tanglewood Music Center, with Maestro Levine conducting. During these years, he also began teaching in rural China, Shanxi Province, where he spent four semesters in between engagements.