Anthony Roth CostanzoCountertenor
About This Performance
Anthony Roth Costanzo re-created the demanding title role of Philip Glass’ monumental opera Akhnaten last season at the Met to universal acclaim and now makes his Bay Area recital debut with 2020 Grammy-winning Attacca Quartet and frequent collaborator Timo Andres. An accomplished professional performing since his teens, he has a wealth of experience getting inside musical characters to deliver captivating performances.
GLASS and new work by ANDRES
Patrick R. McCabe, Individual Sponsor
Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. His debut album, ARC, on Decca Gold was nominated for a 2019 Grammy Award, and he is Musical America’s 2019 vocalist of the year.
Costanzo has appeared with many of the world’s leading opera houses including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, English National Opera, Houston Grand Opera, Opera Philadelphia, Los Angeles Opera, Canadian Opera Company, Glyndebourne Opera Festival, Dallas Opera, Teatro Real Madrid, Spoleto Festival USA, Glimmerglass Festival and Finnish National Opera. In concert he has sung with the New York Philharmonic, Berlin Philharmonic, San Francisco Symphony, London Symphony Orchestra, Cleveland Orchestra, and National Symphony Orchestra, among others. He has performed at a wide-ranging variety of venues including Carnegie Hall, Versailles, The Kennedy Center, The Metropolitan Museum of Art, National Sawdust, Minamiza Kyoto, Joe’s Pub, The Guggenheim, The Park Avenue Armory, and Madison Square Garden.
Costanzo is a Grand Finals Winner of the Metropolitan Opera National Council auditions and won first prize in Placido Domingo’s Operalia Competition. He was nominated for an Independent Spirit Award for his role in a Merchant Ivory film. He has begun working as a producer and curator in addition to a performer, creating shows for National Sawdust, Opera Philadelphia, the Philharmonia Baroque, Princeton University, WQXR, The State Theater in Salzburg, Master Voices and Kabuki-Za Tokyo. Costanzo graduated from Princeton University where he has returned to teach, and he received his masters from the Manhattan School of Music. In his youth he performed on Broadway and alongside Luciano Pavarotti.
Praised by The Strad as “stunning” and for possessing ”a musical maturity far beyond its members’ years,” the Attacca Quartet is currently celebrating its 15th season. From sold out concerts at Carnegie Hall and Radio City Music Hall to National Public Radio’s far reaching Tiny Desk Concerts, the Attacca Quartet celebrates the timeless beauty of the string quartet for a broad audience and this sublime art form.
First prize winners of the 7th Osaka International Chamber Music Competition, top prize and Listeners’ Choice award recipients of the Melbourne International Chamber Music Competition, and Grand Prize Winners of the 60th annual Coleman Chamber Ensemble Competition, the Attacca Quartet has received international acclaim and become one of America’s premier young performing ensembles. They have served as Juilliard’s Graduate Resident String Quartet, the Quartet in Residence at the Metropolitan Museum of Art, and the Quartet in Residence at Texas State University.
The Quartet recently completed The 68, a six year performance project in New York City featuring the complete string quartets of Franz Joseph Haydn. They are currently producing two new series in the New York area: Recently Added at Brooklyn's National Sawdust featuring the complete string quartets of living composers, and Based on Beethoven a project juxtaposing the complete Beethoven string quartets with new works from Recently Added.
The Attacca Quartet has released three critically acclaimed albums with Azica Records: Fellow Traveler: String Quartets of John Adams, Franz Joseph Haydn's Seven Last Words (arranged by Andrew Yee) and Songlines: String Quartets of Michael Ippolito.
Timo Andres (b. 1985, Palo Alto, CA) is a composer and pianist who grew up in rural Connecticut and lives in Brooklyn, NY.
Notable works include Everything Happens So Much for the Boston Symphony; Strong Language for the Takács Quartet, commissioned by Carnegie Hall and the Shriver Hall Concert Series; Steady Hand, a two-piano concerto commissioned by the Britten Sinfonia premiered at the Barbican by Andres and David Kaplan; and The Blind Banister, a concerto for Jonathan Biss, which was a 2016 Pulitzer Prize Finalist.
As a pianist, Timo Andres has appeared with the LA Phil, North Carolina Symphony, the Albany Symphony, New World Symphony, and in many collaborations with Andrew Cyr and Metropolis Ensemble. He has performed solo recitals for Lincoln Center, Wigmore Hall, San Francisco Performances, the Phillips Collection, and (le) Poisson Rouge. Collaborators include Becca Stevens, Jeffrey Kahane, Gabriel Kahane, Brad Mehldau, Nadia Sirota, the Kronos Quartet, John Adams, and Philip Glass, with whom he has performed the complete Glass Etudes around the world, and who selected Andres as the recipient of the City of Toronto Glenn Gould Protégé Prize. Andres also frequently works with Sufjan Stevens; his arrangements of Stevens’s ballet, Principia, were presented last season by the New York City Ballet, and his recording of Stevens’s newest album, The Decalogue, has received widespread acclaim.
This season, Andres curated (and performed in) “American Perspective,” a concert with the Cincinnati Symphony, André de Ridder, Dance Heginbotham, and Inbal Segev, playing his cello concerto, Upstate Obscura. Next season he is presented in residency by San Francisco Performances, including chamber music with Jennifer Koh and Jay Campbell; a solo recital; and a collaboration with a new commission for Anthony Roth Costanzo, the Attacca Quartet, and himself. He also plays The Blind Banister with the Oregon Symphony, led by James Gaffigan.
A Nonesuch Records artist, Timo Andres is featured as composer and pianist on the new album, I Still Play, comprising a set of piano pieces written by himself and fellow Nonesuch artists for Chairman Emeritus Bob Hurwitz. A Yale School of Music graduate, he is a Yamaha/Bösendorfer Artist and is on the faculty at the Mannes School of Music at the New School.