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John Keenan, conductor...

b i o g r a p h y........back to roster....up August 2007 Since conducting major works at the Metropolitan Opera and at the Kirov Opera, John Keenan is emerging as an important conductor of his generation. Most recently he conducted acclaimed performances of Wagner’s Die Meistersinger von Nürnberg at the Metropolitan Opera, with James Morris, Johan Botha, Hans-Joachim Ketelsen, Hei-Kyung Hong, and Matthew Polenzani, and Verdi’s Otello at the Kirov Opera, with Vladimir Galouzine and Sergei Leiferkus. He made his Metropolitan Opera conducting Mozart’s Don Giovanni, and at the age of 26 became one of the youngest conductors to ever conduct at the Met. The production, directed by Franco Zeffirelli, had a cast that included Thomas Hampson, Karita Mattila, Paul Plishka and Cheryl Studer. He was immediately re-engaged at the Met to conduct Mozart’s Le nozze di Figaro with Kiri Te Kanawa, Frederica von Stade, Dawn Upshaw, Thomas Hampson, and Ferrucio Furlanetto. Also at the Met, he has conducted Mozart’s Die Zauberflöte with Rene Papé, and Wagner’s Die Meistersinger von Nürnberg. After making an acclaimed debut conducting Verdi’s Aïda at the Kirov Opera in St. Petersburg, Russia, he returned to the Kirov to conduct Wagner’s Der fliegende Holländer, and Verdi’s Otello. He has also conducted Der fliegende Holländer with the Vancouver Opera, Strauss’ Der Rosenkavalier with the New Zealand Symphony, Puccini's La Bohème for the Santa Fe Opera, Verdi's Falstaff at the Spoleto Festival USA, Donizetti's L'elisir d'amore with the Washington and Los Angeles Operas, Bizet's Carmen and Mozart’s Così fan tutte with the Vancouver Opera, Mozart’s Don Giovanni and Così fan tutte for the Wolf Trap Festival, Offenbach’s Les Contes d’Hoffmann for the Opera Company of Philadelphia, and Massenet’s Thaïs, Tchaikovsky’s Eugene Onegin, and Puccini’s La Bohème with the Louisville Orchestra. A frequent guest conductor with the Minnesota Opera, he made his debut there conducting Verdi’s La Traviata, and returned to conduct Puccini’s Tosca, Verdi’s Otello, Bellini’s Norma, Verdi’s Rigoletto, and Bizet’s Carmen. In Europe, he has conducted Mozart's Mitridate with the Grand Théâtre de Genève and L’Orchestre de la Suisse Romande, Mozart's Le nozze di Figaro with the Opéra de Nice, and Puccini’s Madama Bufferfly with The National Opera of Norway. In demand as an orchestral conductor, he has guest conducted the Orchestre de la Suisse Romande, the Orchestra of St. Luke’s, the New Zealand Symphony, as well as the orchestras of Louisville, Edmonton, Spoleto Festival, and the Vancouver CBC Symphony. Maestro Keenan has also had the special distinction of having held positions on the conducting staffs of the Bayreuth and Glyndebourne Festivals, and the post of Chorus Master of the Metropolitan Opera. . click here to read John Keenan's resume (MS Word) . b i o....r e s u m e....r e v i e w s back to roster...up . .

. r e v i e w s......back to roster....up Die Meistersinger von Nürnberg, Metropolitan Opera "Conductor John Keenan acquitted himself very well indeed, keeping the pulse of the music flowing without dragging and allowing the rich details of the score to shine through. He was quite adept in collaborating with the singers in shaping orchestral phrasing and rubato to complement the vocal line, this being particularly visible in Sachs's Act Two monologue." - The Classical Source Otello, Opéra de Québec ...and a conductor in John Keenan who could make the Quebec Symphony Orchestra sound better than ever. - Opera Canada Magazine Falstaff, Spoleto Festival John Keenan drew a firm, hearty performance from both the Spoleto Festival Orchestra and Westminster Chorus.” - New York Times Falstaff, Spoleto Festival John Keenan conducted with verve and comedic explosiveness.” - Opera News Falstaff, Spoleto Festival Maestro Keenan seemed to me the star of the evening. The music skipped along, sparkling and bubbling with hilarity but able to calm itself for the occasional tender moments. The really difficult sections, like the first finale with its disparate groups in different rhythms, went like the wind and were meticulously accurate.” - Charleston Chronicle Falstaff, Spoleto Festival Conductor John Keenan achieved near miracles with the Spoleto Orchestra, whose quick-silver touch helped propel the magic of Falstaff so effectively. There will be no finer moments at this year’s Festival.” - The State La Bohéme, Santa Fe Opera The revival of “La Bohéme” was distinguished by the exceptionally sensitive conducting of John Keenan”. - Andrew Porter, The New Yorker La Bohéme, Santa Fe Opera Conductor John Keenan drew the best performance of the summer from the orchestra.” - New York Daily News Der Fliegende Holländer, Vancouver Opera The Vancouver Opera Orchestra, conducted with great colour, energy, and detail by John Keenan, played better than I can ever recall, with nothing lax or less than suggestive of the forces of nature that are essential to the opera.” - Vancouver Herald Der Fliegende Holländer, Vancouver Opera John Keenan conducted with focused energy throughout, starting with an Overture exciting in its wide sweep yet precise in its detail.” - Vancouver Star Der Fliegende Holländer, Vancouver Opera Under conductor John Keenan’s hard working baton, the orchestra brought out the sea wind and wave sounds in the score, letting chords crash over the audience, while the strings ebbed and flowed with the emotions on stage.” - Vancouver Tribune Mitridate, Le Grand Teatre de Geneve John Keenan and the Orchestre de la Suisse Romande were in perfect form throughout.” Der Rosenkavalier, New Zealand Festival John Keenan, conducting the New Zealand Symphony, provided an intelligent reading of the opulent music and an understanding of the role the music had an as integral part of the action rather than merely as something to accompany the singers.” - National Business Review Der Rosenkavalier, New Zealand Festival The New Zealand Symphony was superbly controlled by conductor John Keenan.” - Capital Times Norma, Minnesota Opera John Keenan presided over the score, drawing excellent precision from all and faultless balance between pit and stage; he shaped the drama with a sure, knowing hand.” - Opera News Così fan tutte, Vancouver Opera Conducting with verve and energy, John Keenan allowed Mozart’s music to anchor the production while keeping the pace energetic, yet still allowing the range and depth of the music to shine forth.” - Vancouver Times Così fan tutte, Wolf Trap Opera Conductor John Keenan led a performance that was forthright, expressive, and secure.” - Washington Post Thais, Louisville Orchestra The Louisville Orchestra has seldom sounded more confident.” - The Courier-Journal Tosca, Minnesota Opera Conductor John Keenan deserves the credit for filling in the details so precisely and passionately. The Minnesota Opera Orchestra played at peak strength for him, and there was no doubt who was in charge.” - The Star Tribune L’Elisir d’amore, Los Angeles Opera In his debut with the company, the young American conductor John Keenan kept the score on track and the singers in focus. Both orchestra and chorus performed confidently, and the dynamic correspondence between pit and stage never became a problem, as can happen in this house.” - Los Angeles Times L’Elisir d’amore, Washington Opera John Keenan brought a sense of style and polish to Donizetti, eliciting energetic, precise, and nuanced playing from the Kennedy Center Orchestra.” - Opera News Eugene Onegin, Louisville Orchestra The Louisville Orchestra, led by John Keenan, began with the gentlest of musical caresses and grew in romantic sweep, becoming madly passionate with drive and drama while maintaining plenty of lightness for the dance numbers. Robust, full-throated singing by the chorus added to the excitement. -Opera News b i o....r e s u m e....r e v i e w s back to roster...up . . . .