Matthew Swensen
Also new in the ensemble is the tenor Matthew Swensen, who embodies the character of Camille de Rosillon, who is infatuated with Valencienne - excellently done and with a lot of melting in his voice - also with very classy high notes.
— KULTUREFREAK DEUTSCHLAND / Die Lustige Witwe at Opernhaus Frankfurt
 

With his thrilling coloratura, impeccable artistry, critically and popularly acclaimed operatic and oratorio performances, tenor Matthew Swensen has quickly established himself as a rising talent in the classical music world through his "joyful, lyric singing."

The 2018/19 season begins with Matthew Swensen's debut as Tamino in Die Zauberflöte at Oper Frankfurt, followed by another role debut as Camille in Lehar's Die Lustige Witwe, a new double-bill production of Tchaikovsky’s Iolanta and Stravinsky’s Oedipus Rex, and as Flavio in Bellini's Norma with Elza van den Heever in the title role. He will be the tenor soloist in Handel’s Messiah with the Residenz Kammer-Orchester München and the Augsburger Domsingknaben. He will make his European recital debut at Oper Frankfurt in February 2019, followed by his debut with Andrea Marcon and Barokensemble La Cetera in Bach's Johannespassion in April 2019.

 
IMG_1449.JPG

Next Performances


Screen Shot 2019-01-19 at 6.19.44 PM.png

February 04 | 2019

Matthew will make his European Recital debut at Opernhaus Frankfurt on February 4th, accompanied by Hilko Dumko. The Program will include selections of Britten, Schubert, Beethoven and Strauss.

Read More about Opernhaus Frankfurt —

 
Screen Shot 2019-01-19 at 6.19.44 PM.png

April 11 | 2019

Bach: St. John Passion (DE)
St. Martinskirche Basel, Switzerland
Andrea Marcon and Baroque Ensemble La Cetra
Vocal Ensemble La Cetra

Read More about La Cetra —


In the Press

Crop Version FLIGHT .jpeg
Matthew Swensen’s Bill is a refreshing and surprise creation: he manages the unexpected twists in his character’s development with ease. Where others might falter in the role, Swensen’s commitment to the drama allows the audience to not only believe the veracity of this character, but to also follow him on a rather shocking journey.
— Parterre