Krisztián Cser, Bass. APA Artists' Management Alexandra Mercer - www.apaartistsmanagement.com/krisztiancser/




Maria Bulgakova
Simge Büyükedes
Scilla Cristiano
Elena Kelessidi
Hyuna Ko
Dimitra Kotidou
Julie Martin du Theil
Julia Sitkovetsky
Ekaterina Sadovnikova
Evgeniya Sotnikova
Anna Stylianaki
Letitia Vitelaru
Elena Zelenskaya


Asude Karayavuz
Larisa Kostyuk
Claudia Marchi
Victoria Yarovaya


Arnold Bezuyen
Salvatore Cordella
Emanuele D'Aguanno
César Gutiérrez
Michael Heim
Francesco Marsiglia
Javier Palacios
Peter Svensson
Vadim Zaplechny


Marcin Bronikowski
Davide Damiani
Anooshah Golesorkhi
Nikos Kotenidis
Dimitri Platanias


Johannes von Duisburg
Sebastian Holecek


Krisztián Cser
Luiz-Ottavio Faria


Manlio Benzi
Thomas Sanderling
Jonathan Santagada


Dieter Kaegi


Krisztián Cser

Bass

www.krisztiancser.com

Video:
Krisztián Cser's YouTube Channel


Born into a family of musicians, he first began a career as a physicist before switching to singing, studying at the Liszt Academy of Music under Éva Marton. He made his debut in the Bach Johannes Passion and continues to appear regularly in concert. He is winner of many scholarships, prizes and competitions, including the József Simándy Singing Competition, finalist in the Montserrate Caballe Singing Competition, and was awarded a Special Prize at the Geneva Competition.  He won the Annie Fischer scholarship, the Prize for the Hungarian Youth of March and was awarded the 2011 Wagner Society Scholarship. He made his operatic debut in Spoleto as Don Magnifico Cenerentola. He went on to join the Hungarian State Opera, singing many roles with the company. He has also toured widely, appearing as Bluebeard Bluebeard’s Castle in the opera’s first performance in China, a role that he has subsequently made his own.

The Guardian - Erica Jeal - 24th May 2017
Krisztián Cser, whose deep, velvety bass oozed sinister tenderness and Freudian confusion in the title role.


Roles:

AIDA: Il Re

ANNA BOLENA: Enrico VIII

ANNA BOLENA: Rochefort


ARIADNE AUF NAXOS: Truffaldino

IL BARBIERE DI SIVIGLIA: Don Basilio

BLUEBEARD’S CASTLE: Bluebeard









LA BOHEME: Colline

CARMEN: Zuniga

LA CENERENTOLA: Don Magnifico



DAPHNE: Peneios

DEIDAMIA Licomede

DON CARLO: Il Grand’ Inquisitor/ Carlo V

DON GIOVANNI: Leporello


DON GIOVANNI: COMMENDATORE


THE FAIRY QUEEN: Genius

FIDELIO: Don Fernando

DER FREISCHÜTZ: Kaspar

FRIEDENSTAG: Holsteiner

HIPPOLYTE ET ARICIE: Pluto/Neptune

LOVE AND OTHER DEMONS: Don Toribio the Bishop

MOSES UND ARON: Priester

LE NOZZE DI FIGARO: Figaro






OEDIPUS REX: Tiresias

LA PUTAIN RESPECTUEUSE: The Negro

THE RAPE OF LUCRETIA: Collatinus

THE RED HEIFER: Kossuth

DAS RHEINGOLD: Fasolt

ROMEO ET JULIETTE: Frère Laurent

SALOME: Erster Soldat/ I Nazarener

DIE SCHWEIGSAME FRAU: Farfallo

SEMELE: Cadmus

I SPIRITISTI: Il Duca

IL TROVATORE: Ferrando

TOSCA: Angelotti

DIE WALKÜRE: Hunding

DIE ZAUBERFLÖTE: Sarastro






Hungarian State Opera

National Theatre of Pécs

MÜPA – Budapest
Kosice Filharminia

Hungarian State Opera

MÜPA Budapest

Hungarian State Opera
Tianjin Grand Tehatre
Royal Festival Hall
Brugge Concertgebouw
Katowice Concert Hall
Auditorium - La Verdi di Milano
Lysenko Concert Hall
Hungarian Academy Roma
International Opera Festival of Miskolc

Hungarian State Opera

Szeged Open-air Festival

Spoleto Festival
Kobe Kokusai Kaikan
Tokyo Bunka Kaikan

MÜPA Budapest

Margitsziget Open-Air Festival

Hungarian State Opera

Hungarian State Opera
National Theatre of Miskolc

Hungarian State Opera
National Theatre of Miskolc

MÜPA Budapest

Hungarian State Opera

Hungarian State Opera

MÜPA Budapest

MÜPA Budapest

Hungarian State Opera

MÜPA Budapest

Hungarian State Opera
Tokyo Bunka Kaikan
Kawaguchi Lilia Hall
Kagoshima Citizens’ Culture Hall
Acros Fukuoka
Osaka Festival Hall

Kodály Hall Pécs



Hungarian State Opera

Berlin

Hungarian State Opera

Margitsziget Open-Air Festival

Hungarian State Opera

MÜPA Budapest



Hungarian State Opera

Hungarian State Opera

Hungarian State Opera

Hungarian State Opera

Concergebouw Amsterdam
Berlin Konzerhaus
Concertgebouw Brugge
Royal Festival Hall
Hungarian State Opera
Liszt Ferenc Academy of Music

Oratorio includes:

BACH: H-moll Messe, Johannes Passion; Magnificat; Matthäus Passion; BEETHOVEN: C dur Messe, IX Sinfonie; BERLIOZ: Roméo et Juliette; BIBER; Missa Bruxellensis; BRAHMS: Ein deutsches Requiem; BRUCKNER: Te Deum; BUXTEHUDE: Membra Jesu nostri cantata; CAPRICONE: Messe; CARISSIMI: Jephte; CAVALLI: Magnificat, Messa Concertata; CHARPENTIER: Te Deum; DONIZETTI: Requiem; DRUSCHETSKY: Missa solemnis in B-dur; DVOŔAK: Svatá Ludmila, Requiem; FAURE: Requiem: GOUNOD: Messe solennelle de Sainte Cécile; HAYDN: Cäcilienmesse, Die Jahreszeiten, Die Schöpfung, Harmoniemesse,  Heiligmesse, Nelsonmesse, Nicolaimesse,  Paukenmesse, Requiem, Salve Regina, Stabat Mater; HÄNDEL: Messiah, Judas Maccabeus,  Athalia, Dettinger Te Deum, Hercules,  Johannes Passion,  Theodora; KODÁLY: Missa Brevis, Te Deum, Two Songs Op.5; LICKI: C-dur Messe; D=dur Messe; LISZT: Christus, Missa Coronationalis; Missa Solennis, Die Legende von der heiligen Elisabeth; MENDELSSOHN: Elias, Paulus;  MONTEVERDI: Vespro della Beata Vergine; MOZART: C-Moll Messe, Krönungsmesse, Requiem, Vesperae solennes de confessore; PÄRT: Johannes Passion; PFITZNER: Palestrina; PUCCINI: Messa di Gloria; PURCELL: Timon of Athens; ROSSINI: Stabat Mater, Petite Messe Solennelle; SCHUMANN: Requiem; SCHUBERT: G-dur Messe, As-dur Messe; Es-dur Messe; Magnificat; SCHÜTZ: Kleine Geistliche Konzerte; Ich Liege Und Schlafe; Wann Unsre Augen schlafen ein; Der Herr schauet vom Himmel; Weihnachtsoratorium; SCHMIDT: Das Buch mit sieben Siegeln; STRAVINSKY: Pulcinella; VERDI: Messa da Requiem; VIVALDI: Magnificat; ZEMLINSKY: Psalm 83

Conductors and Directors with whom he has collaborated include:

Christian Badea; Tibor Bogányi; Pierre Cao; Gaetano D’Espinosa; Giuseppe Di Malfa; Péter Eötvös; Ádám Fischer; Iván Fischer; Zsolt Hamar; Gábor Hollerung;Kirill Karabits; Gergely Kesselyák; Balázs Kocsár; Zoltán Kocsis; Henrik Nánási; Zoltán Peskó; Alessio Pizzech; Helmuth Rilling; Peter Schreier; Pinchas Steinberg; Muhai Tang; Tamás Vásáry; György Vashegyi; Sebastian Weigle.
Ferenc Anger; Balázs Kovalik; Li Yiming.

Reviews:

Bluebeard’s Castle with Iván Fischer & Budapest Festival Orchestra,Royal Festival Hall, 23rd May 2017

Bachtrack - Matthew Rye – 23rd May 2017
Bluebeard himself was sung with composure, detailed characterisation and sonorous richness by bass Krisztián Cser - very much a singer who on this basis I would travel to Budapest to hear again. The Guardian – Erica Jeal – 24th May 2017
…and to Krisztián Cser, whose deep, velvety bass oozed sinister tenderness and Freudian confusion in the title role.

ClassicalSource – Peter Reed – 23rd May 2017
Vampire-like, Kristián Cser’s inscrutable, beautifully sung Bluebeard conversely grew in strength, climaxing in his brief but stupendous outpouring of lyricism in his celebration of his three previous wives. Barely moving his arms from his sides, Cser was as bleak and unknowable as Bluebeard can be, with a bass voice to match and a command of words that oozed sadness.

The Spectator – Alexandra Coghlan
Wizard-like, Fischer summoned his story in all its queasy beauty — the insinuating, fragrant clarinet behind the garden of the Fourth Door, the bone-cracking xylophone of the First Door’s torture chamber, the scorching C major that is the Fifth Door’s boundless vista — his orchestra colouring each vision lovingly, a throbbing hit of colour against which Ildiko Komlosi’s Judith and Krisztian Cser’s Bluebeard were vividly silhouetted.

theartsdesk.com – Sebastian Scotney – 24th May 2017
True bass Krisztián Cser (pictured above by Hermann Peter) as Bluebeard was at his best in the story-telling episode when he tells Judith about his previous wives. The two soloists both gave authenticity, understanding and constant fresh insights into the bleak technicolour of Duke Bluebeard’s Castle. Unforgettable.

Opera Today - Claire Seymour – 24th May 2017
Bass Krisztián Cser was a striking portrait of steely repressed emotion allied with an almost unwelcome recognition of power - ‘You see the extent of my Kingdom’ - and of his own capacity for violent domination. There were hints of vulnerability too: ‘Judith, Judith’ Cser cried, accompanied by a lovely cello solo, and at times the warm horns suggested heart-feeling submerged and suppressed.

The Financial Times –Richard Fairman – 24th May 2017
…and bass Krisztián Cser made an imposing and resilient Bluebeard.

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