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.

Last season, he gave a highly acclaimed role debut as Alberich in a concert performances of Das Rheingold at MUPA in Budapest with Adam Fischer and the Hungarian RSO and appeared as Oroveso in Norma, alongside Cecilia Bartoli, at Zurich Opera, Monte-Carlo Opera, the Edinburgh International Festival, the Théâtre des Champs-Élysées and Festspielhaus Baden-Baden.
Most recently, he sang Figaro in Le Nozze di Figaro at the Angers-Nantes Opéra and returned to Budapest Opera as Nick Shadow and Gianni Schicchi as well as MUPA as Alberich in Das Rheingold, Siegfried and Götterdämmerung.

Other recent opera appearances include the role of Boland in Schubert’s Fierrabras staged by Peter Stein at the Salzburg Festival, Cadmus and Somnus in a concert version of Semele at the Whitsun Festival in Salzburg, conducted by Diego Fasolis, Leporello in Sir Thomas Allen’s production of Don Giovanni at Scottish Opera, Le Gouverneur in Rossini's Le Comte Ory at Theater an der Wien, Elmiro in Rossini's Otello at Théâtre des Champs-Élysées and the Whitsun Festival Salzburg with Jean-Christophe Spinosi and Bartolo in Le Nozze di Figaro under the baton of Paul McCreesh at Vlaamse Opera, and at Theater an der Wien with Marc Minkowski as well as the late Nikolaus Harnoncourt in concert.

Elsewhere, he sang the role of 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 Handel’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 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, Nick Shadow in The Rake's Progress and Don Alfonso in Cosi fan tutte, Dulcamara in L'elisir d'amore and the title-role in Don Pasquale, Sixtus Beckmesser in Die Meistersinger von Nürnberg, Herr von Faninal in Der Rosenkavalier, Ping in Turandot and Bluebeard in Bluebeard’s Castle. 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.

Highlights for the season 2017/18 include Bartolo in Il barbiere di Siviglia at the Théâtre des Champs-Élysées and in concert at Konzerthaus Dortmund, a return to Angers Nantes Opera as Senecca in L'incoronazione di Poppea, Don Alfonso in Cosi fan tutte at the Hungarian State Opera, Mustafa in Italian in Algeri at the Salzburg Whitsun Festival, La Cerenentola in concert at the Théâtre des Champs-Élysées as well as concert performances of Götterdämmerung with the Hong Kong Philharmonic Society.

Peter Kalman was a member of the International Opernstudio at Zurich Opera, after which he joined the ensemble, 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.
 
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AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.

PETER KÁLMÁN - G. Rossini, Il barbiere di Siviglia, Bartolo

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

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

"Peter Kálmán en a à revendre, et c’est un vrai bonheur que d’entendre enfin un Figaro qui possède vraiment la tessiture du rôle, après tant de titulaires obligés de tricher dès qu’ils doivent descendre vers le bas de la portée. S’il n’a rien d’un valet bondissant et moqueur, sa diction italienne est un régal et lui permet de camper un protagoniste avec lequel il faut compter."
 
Forum Opéra, Mozart, Le Nozze di Figaro, Angers Nantes Opéra, Nantes, March 2017
"Le rôle-titre est tenu par le baryton-basse Peter Kalman. Il faut au public quelques instants pour adhérer à sa proposition : en effet, ni la voix, à la fois ample, profonde, charpentée, et timbrée dans le masque, ni le physique bourru, ni l’attitude, bougonne et agressive, ne correspondent à l’image habituellement proposée d’un Figaro espiègle et narquois. Son jeu et l’intention qu’il met dans chaque mot qu’il chante convainquent finalement les spectateurs. Son premier air est chanté dents serrées, dans un élan rageur, imposant le caractère agressif conféré à son personnage dans cette mise en scène. Son humeur ne s’arrange d’ailleurs pas dans son deuxième air, dans lequel il martyrise Cherubino, lui arrachant les boutons de sa veste et lui tirant les cheveux pour le courber au sol."
 
Olyrix, Mozart, Le Nozze di Figaro, Angers Nantes Opéra, Nantes, March 2017
"Gerade der Sänger des Alberich verleiht mit seiner enormen stimmlichen Ausdrucksstärke der Aufführung besonderen vokalen Glanz. Peter Kálmán darf zurecht am Schluss tosenden Beifall ernten; seine Rollengestaltung ist nicht allein darstellerisch ungemein packend, auch vokal bringt er viele Nuancen in diese Figur, die zu den schillerndsten im Ring gehört, von der tölpelhaften Verliebtheit in die Rheintöchter am Anfang über den überheblichen Stolz in der Nibelheim-Szene bis hin zum erbitterten Hass beim Ausstoßen des Fluches, der ja die weitere Entwicklung der Tetralogie entscheidend bestimmt - Kálmán vermag die ganze Bandbreite mit starkem vokalen Ausdruck zu zeigen."

Bachtrack.com, Wagner, Das Rheingold in concert - MUPA, Budapest, June 2016
"[...]this years's performance wasn't about [Loge]. But about the new 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[…]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

Peter Kálmán

Photo Credit: Miklos Deri

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