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“A star in the making…exquisitely artful…”

The Sunday Times, London

“Nicholas Phan, with his sweet, clear voice, is on a career roll.”

The New York Times

“Phan is a tenor whose renown is well-earned. His voice is supple throughout an admirably wide range, whether he is called upon to unleash stormy passions or whisper love’s most delicate shadings. His long experience performing opera showed plainly in the full spectrum of emotion and drama.”

Cleveland Plain Dealer

“…he took hold of the ­music with ­unerring ­musicality, ­precise diction, and ­conversational ­command of German.”

Alex Ross, The Rest is Noise

“The voice is graceful, ­mellifluous and ­durable, but behind it lie sharp ­intelligence, poetic insight and a ­confident ­individuality, ­allowing him a deeply ­personal response…”

The Sunday Times, London

“…he penetrated deeply into the inner drama of each of the 16 songs.”

Boston Globe

“It’s Mr. Phan’s voice that puts him in ­another league, ­however. Trim and slight of build, he ­possesses a ­commanding, yet subtly resourceful­ ­instrument. To see this level of mastery in a young singer, ­particularly in the famous aria “Una f­urtiva lagrima” (“a furtive tear”) is to ­expect great things of his future.” ­

Washington Times

Described by the Boston Globe as “one of the world’s most remarkable singers,” American tenor Nicholas Phan is increasingly recognized as an artist of distinction. Praised for his keen intelligence, captivating stage presence and natural musicianship, he performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, in 2010 he co-founded the Collaborative Arts Institute of Chicago (CAIC) to promote art song and vocal chamber music, where he serves as artistic director.

Phan once again launches his new season in Chicago, curating CAIC’s eighth annual Collaborative Works Festival. This year’s three-day festival, “The Living,” explores the songs of a diverse array of today’s leading composers. Other highlights of his 2019-20 season include debuts with the Bavarian Radio Symphony Orchestra with Riccardo Muti, the London Symphony Orchestra with Michael Tilson Thomas, Handel & Haydn Society with Masaaki Suzuki, and the New World Symphony for a program of vocal chamber music. He makes his role debut in the title role of Handel’s Judas Maccabaeus with Philharmonia Baroque and Nicholas McGegan, and gives the world premiere of Antoine Plante’s arrangement Schubert’s Winterreise for full orchestra, with Houston-based orchestra, Mercury. In January 2020, Phan curates and performs in Emerging Voices with the Philadelphia Chamber Music Society: a series of concerts, salons and panel discussions celebrating Paris and art song’s role as medium for understanding identity and forging connections during times of social, political and cultural change. In addition to return appearances with both the New York Philharmonic and San Francisco Symphony, he also returns to the Cleveland-based baroque orchestra, Apollo’s Fire, for a tour of Bach’s St. Matthew Passion performing both the Evangelist and the tenor arias. Phan will also give the world premieres of two new song cycles in 2020, one by Nico Muhly commissioned for the Emerging Voices project, and one by Gabriel Kahane, commissioned to commemorate the 40th anniversary of San Francisco Performances. A celebrated recording artist, Phan will also release his 6th solo album, Clairières, in January 2020, a recording of songs by Lili and Nadia Boulanger.

Phan’s previous solo album, Gods and Monsters, was nominated for the 2017 Grammy Award for Best Classical Vocal Solo Album. His other previous solo albums Illuminations, A Painted TaleStill Fall the Rain and Winter Words, made many “best of” lists, including those of the New York TimesNew YorkerChicago Tribune, WQXR, and Boston Globe. Phan’s growing discography also includes a Grammy-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony, Berlioz’ Roméo et Juliette with Michael Tilson Thomas and the San Francisco Symphony, Scarlatti’s La gloria di primavera and Handel’s Joseph and his Brethren with Philharmonia Baroque, an album of Bach’s secular cantatas with Masaaki Suzuki and Bach Collegium Japan, Bach’s St. John Passion (in which he sings both the Evangelist and the tenor arias) with Apollo’s Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter’s A Sunbeam’s Architecture.

Phan has appeared with many of the leading orchestras in the North America and Europe, including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Atlanta Symphony, St. Paul Chamber Orchestra, Minnesota Orchestra, Orchestra of St. Luke’s, Philharmonia Baroque, Boston Baroque, Les Violons du Roy, BBC Symphony, English Chamber Orchestra, Strasbourg Philharmonic, Royal Philharmonic, Swedish Radio Symphony, Philharmonia Orchestra of London, and the Lucerne Symphony. He has toured extensively throughout the major concert halls of Europe and has appeared with the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, Saint-Denis, and Tanglewood festivals, as well as the BBC Proms.  Among the conductors he has worked with are Marin Alsop, Harry Bicket, Herbert Blomstedt, Pierre Boulez, Karina Canellakis, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Charles Dutoit, James Gaffigan, Alan Gilbert, Jane Glover, Matthew Halls, Manfred Honeck, Bernard Labadie, Louis Langrée, Cristian Măcelaru, Nicholas McGegan, Zubin Mehta, Riccardo Muti, John Nelson, Yannick Nézet-Séguin, Helmuth Rilling, David Robertson, Esa-Pekka Salonen, Masaaki Suzuki, Michael Tilson Thomas, Bramwell Tovey and Franz Welser-Möst.

An avid proponent of vocal chamber music, he has collaborated with many chamber musicians, including pianists Mitsuko Uchida, Richard Goode, Jeremy Denk, Graham Johnson, Roger Vignoles, Inon Barnatan, Myra Huang and Alessio Bax; violinist James Ehnes; guitarist Eliot Fisk; harpist Sivan Magen; and horn players Jennifer Montone, Radovan Vlatkovic and Gail Williams. In both recital and chamber concerts, he has been presented by Carnegie Hall, London’s Wigmore Hall, the Metropolitan Museum of Art, the Chamber Music Society of Lincoln Center, the Philadelphia Chamber Music Society, Atlanta’s Spivey Hall, Boston’s Celebrity Series, and the Library of Congress in Washington, DC. In addition to his work as artistic director of CAIC, he also has served as guest curator for projects with the Laguna Beach Music Festival, Philadelphia Chamber Music Society, and San Francisco Performances, where he served as the vocal artist-in-residence from 2014-2018.

Phan’s many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Chicago Opera Theater, Seattle Opera, Portland Opera, Glyndebourne Opera, Maggio Musicale in Florence, Deutsche Oper am Rhein, and Frankfurt Opera. His growing repertoire includes the title roles in Bernstein’s Candide, Stravinsky’s Oedipus Rex and Handel’s Acis and Galatea, Almaviva in Il barbiere di Siviglia, Nemorino in L’elisir d’amore, Fenton in Falstaff, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Lurcanio in Ariodante. 

In 2018, Phan was appointed to the faculty of DePaul University, where he serves as an adjunct member of the voice faculty. A graduate of the University of Michigan, Phan is the 2012 recipient of the Paul C Boylan Distinguished Alumni Award and the 2018 Christopher Kendall Award. He also studied at the Manhattan School of Music and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. He was the recipient of a 2006 Sullivan Foundation Award and 2004 Richard F. Gold Career Grant from the Shoshana Foundation.

AUGUST 2019