Dresdner Musikfestspiele

Lance Ryan sings the tenor solo in Mahler's 8th Sinfonie "Sinfonie der Tausend" with the Israel Philharmonic Orchestra under the baton of Omer Meir Wellber at the Dresdner Musikfestspiele. The concert takes place on may 21st, 2016 in the famous Dresden Kreuzkirche.

Oper Dortmund

Lance Ryan sings Tristan in the highly acclaimed new production for Oper Dortmund for the last time on May 29th, 2016.

Oper Köln

Lance Ryan will sing Cavaradossi|Tosca with Cologne Opera, starting on June 26th, 2016.

Dresden, Semperoper

Lance Ryan will sing his first Herod|Salome in a new production with Dresden's Semperoper. Premiere: septembre 24th, 2016

Hess. Staatstheater Wiesbaden

Lance Ryan premieres for the frist time in the title role of Peter Grimes with the Hessische Staatstheater Wiesbaden starting february 10th, 2017.

Oper Dortmund

Lance Ryan will sing the title role of Otello in a new production at the opera in Dortmund. Conductor Gabriel Feltz, staging Jens-Daniel Herzog. Premiere March 26th, 2017.

Nederlandse Opera, Amsterdam

Lance Ryan sings the role of Herodes|Salome in a new production at the Nederlandse Opera Amsterdam starting june 9th, 2017. Daniele Gatti will conduct, Ivo van Hove will direct the production.

Staatstheater Wiesbaden

Lance Ryan singt zur Saisoneröffnung 2017 in einer Neuproduktion die Titelrolle in Tannhäuser am Hessischen Staatstheater Wiesbaden.


There are no translations available.

In Dortmund for Tristan und Isolde rehearsals. Today is Ferragosto in Italy and in fact I've had the day-off rather unintentionally. Vivi has arrived and so life has much more depth and perspective. Returning to work hasn't been as shocking as I had feared, although working towards the premiere it will become more intense. It's early days yet.

The tyrannical representation of the production have an increasingly hideous effect upon me, to the point that I shudder when when stop and talk about the psychological processes of the characters. Of course,  going hard core in Germany is imminently expected, but I can't help but think about a production of Tristan and Isolde which purely portrays the individual psychological developments of the characters conscious and subconscious. So much of what we do comes from deep recesses of our mind of which we are unaware.

That is essentially my problem. My job is interesting on a solely artistic level. The expositional aspect of opera leaves me apathetic. I'm interested in the process, not the result. The process is art. The result is profession. That is why my job is the representation of art. I understand why some directors never watch performances of their own work.

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