PETER KÁLMÁN
General Management
Hungarian bass-baritone Peter Kalman is becoming widely known for his highly engaging character portrayals, especially in the Italian “Buffo” repertoire.

Most recently, he sang Cadmus and Somnus in a concert version of Semele at the Whitsun Festival in Salzburg, conducted by Diego Fasolis, Bartolo in Le Nozze di Figaro under the baton of Paul McCreesh at Vlaamse Opera, Nick Shadow in The Rake's Progress and Don Alfonso in Cosi fan tutte at Hungarian State Opera, and Bartolo at Theater an der Wien, under Mark Minkowski.

In 2015/16, he will appear as Oroveso in Norma, alongside Cecilia Bartoli, at Zurich Opera, Monte-Carlo Opera and the Edinburgh International Festival and return to Budapest as Nick Shadow and Gianni Schicchi.

Other recent engagements include the role of Boland in Schubert’s Fierrabras staged by Peter Stein at the Salzburg Festival, Leporello in Sir Thomas Allen’s production of Don Giovanni at Scottish Opera, Dulcamara in L'elisir d'amore and the title-role in Don Pasquale both at the Hungarian State Opera, Elmiro in Rossini's Otello at Théâtre des Champs-Élysées and the Whitsun Festival Salzburg with Jean-Christophe Spinosi and Bartolo in a concert version of Le Nozze di Figaro at the Theater an der Wien under the baton of  Nikolaus Harnoncourt.

Furthermore he sang the role of Le Gouverneur in Rossini's Le Comte Ory at Theater an der Wien, Nonancourt in Nino Rota's opera Il capello di paglia di Firenze at the Angers-Nantes Opéra in a staging by Moshe Leiser and Patrice Caurier, Curio in Händel’s Giulio Cesare at the Salzburg Festival, Don Magnifico in Rossini’s La Cenerentola at Den Nye Opera in Bergen and Elmiro in Rossini's Otello at  Zurich Opera.

At the Hungarian State Opera, where he is a regular guest, he has performed roles such as Papageno in Die Zauberflöte, Il Conte Almaviva in Le Nozze di Figaro, Figaro in Le Nozze di Figaro and in Il barbiere di Siviglia, Bartolo in Il barbiere di Siviglia, Sixtus Beckmesser in Die Meistersinger von Nürnberg, Herr von Faninal in Der Rosenkavalier and Ping in Turandot. He sang Malatesta in Don Pasquale at the Opera Festival in Miskolc/Hungary where he also performed the role of De Siriex in Giordano’s Fedora and the title role in Puccini's Gianni Schicchi.

Peter Kalman was a member of the International Opera Studio at Zurich Opera after which he joined the ensemble from 1998-2006, where he appeared a.o. as Silvano in Un Ballo in Maschera, Belcore in L'Elisir d'Amore and Angelotti in Tosca and worked with conductors such as Nello Santi, Christoph von Dohnányi, Adam Fischer, Valery Gergiev, Stephan Soltesz, Vladimir Fedoseyev and Franz Welser-Möst.

Born in Budapest, he began his studies with Anna Pauk and continued his musical education at the Manhattan School of Music in New York with Gabor Carelli and in Hungary with Prof. Mircea Breazu.


ANY PUBLIC USE OF THE ABOVE TEXT IS NOT PERMITTED WITHOUT SPECIFIC
AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.

PETER KÁLMÁN - W.A. Mozart, Le Nozze Di Figaro, Bartolo

PETER KÁLMÁN - I. Stravinsky, The Rake's Progress, Nick Shadow

"[...]this years's performance wasn't about [Loge]. But about the new Alberich. Not that I didn't like the old one. I liked watching Hartmut Welker getting older in the role. Getting more grey hair every year, getting quieter, voice fading from year to year. He still is present, projected as a shadow silhouette image on the screen. And into this silhouette steps Peter Kalmans Alberich.
[...]there is no Alberich like this. Not on the market today, neither here nor in the "biggest Wagner centers in the world".
In this package of voice and passion, the personality dissolves into the role, and the role dissolves into the personality.  It [...] causes stunned silence in the auditorium. Sometimes all you can hear is the breathing of the midget, his face on the floor. All you can hear is the foolish creature's sadism and triumph and then the total emptiness. He remains free. Totally free, of love, which he was denied, of gold and power because it was taken from him by the " world's strong ones".[…]Not only does the new singer change the whole performance, but this new point of view makes us believe that we have never seen this production before. Wagner himself changes, our relation to him. The Real Wagner instead of the Big Wagner. What many people say about being sucked into a magic world, a myth, a fairy tale, does not apply here. We are directly connected to the opera. There is everything except magic. There is everything, tears, sweat, voice."

 
Elet es Irodalom, Wagner, Das Rheingold in concert - MUPA, Budapest, June 2016

"On a trouvé plus de talent à Peter Kalman, Elmiro le père de Desdemona"

ConcertoNet.com, about the role of Elmiro in Rossini’s Otello at the Théâtre des Champs-Élysées, April 2014

"Peter Kalman est un Elmiro sans reproche"

Resmusica, about the role of Elmiro in Rossini’s Otello at the Théâtre des Champs-Élysées, April 2014

"Desdemona’s father, baritone Peter Kalman, reveals a lovely depth in the interpretation and a fine phrasing."

Il tenero momento, about the role of Elmiro in Rossini’s Otello at the Théâtre des Champs-Élysées, April 2014

"Desdemona’s father, baritone Peter Kalman, reveals a lovely depth in the interpretation and a fine phrasing."

Opera Online, about the role of Elmiro in Rossini’s Otello at the Théâtre des Champs-Élysées, April 2014

"Le reste de la distribution est de haut niveau avec notamment l’Elmiro orgueilleux du seul baryton de l’histoire, Peter Kálmán"

Forumopera.com, about the role of Elmiro in Rossini’s Otello at the Théâtre des Champs-Élysées, April 2014

"Impressive too were Peter Kalman's Bartolo and Antonio. Oodles of stage confidence and personality combined with a rather bombastic and coarse-grained timbre gelled here to make for luxurious casting"

The Opera Critic, about the roles of Bartolo and Antonio in Le Nozze di Figaro at Theater an der Wien, March 2014

"Sehr gut auch Peter Kálmán (Bartolo und Antonio)"

Kurier, about the roles of Bartolo and Antonio in Le Nozze di Figaro at Theater an der Wien, March 2014

"Peter Kalman is a fine Leporello, creating an unlikely coalition between servant and the nobility to which he aspires"

The Stage, about the role of Leporello in Don Giovanni at Scottish Opera, October 2013

"He was partnered brilliantly by Peter Kalman, a servant who clearly adores his master, and Kalman’s full, throaty baritone was a joy to listen to"

Seen and Heard International, about the role of Leporello in Don Giovanni at Scottish Opera, November 2013

"As a foil for Giovanni, Peter Kalman's Leporello is all he should be, alternately fed-up with and revelling in Giovanni's bad behaviour, He has a lively and expressive face with which to make the most of the famous catalogue song".

The Opera Critic, about the role of Leporello in Don Giovanni at Scottish Opera, November 2013

"Doté d’une voix de stentor, le baryton hongrois Peter Kalman incarne un hilarant Nonancourt, et l’on rêve de l’entendre dans le rôle de Falstaff "

ConcertoNet.com, about the role of Nonancourt in Nina Rota’s Il cappello di paglia di Firenze at Angers Nantes Opéra, November 2012

"Beau succès de Peter Kalman en inénarrable Nonancourt, le futur beau-père, personnage de composition désopilant"

Forumopera.com, about the role of Nonancourt in Nina Rota’s Il cappello di paglia di Firenze at Angers Nantes Opéra, November 2012

Peter Kálmán

Bio English

Peter Kálmán

Photo Credit: Miklos Deri

Please send us an e-mail to info@sorekartists.com or use the links listed below:


To
 
Name
 
Email
 
Phone
 
Phone 2
Your Message
 
Check this box if you would like to receive a copy of this e-mail