Canadian tenor Chris Lysack brings a vast and unorthodox skill set to his craft. Initially having received his formal training at Indiana University as a concert pianist (Doctor of Music) and a literary scholar (PhD, French Literature) before completing his vocal studies at Manhattan School of Music, he is uniquely positioned to approach the most challenging repertoire with intellectual rigor and refined musicianship of the highest caliber.
In the past several seasons, the “intrepid, individual artist” (Opera Now) has performed as a leading tenor throughout Europe, with companies such as the Hamburg State Opera, Salzburg State Theater, Linz State Theater, Theater Osnabrück, Theater Aachen, Stadttheater Bern, and the Theater Bremen, site of his “sensational début” (Opernglas) in the Wagnerian repertoire as Walther von Stolzing in Die Meistersinger von Nürnberg in 2014.
Lysack has performed a broad cross-section of the repertoire, ranging from the title roles in Lohengrin, Les contes d'Hoffmann, and Peter Grimes, to such favorites as Florestan (Fidelio) and Cavaradossi (Tosca), and to lesser-known modern works, including York Höller’s Der Meister und Margarita and Brett Dean’s Bliss. The versatile tenor also has a particular interest in Czech music, having achieved acclaim as the Prince (Rusalka) and Laca Klemeň (Jenůfa) at the Theater Aachen, as well as in Janáček's song cycle Zápisník zmizelého at the Hamburg State Opera. Lysack has twice received grants from the Canada Council for the Arts for language study and role preparation in the Czech Republic.
This season, Lysack returns to the Theater Bremen for two projects. First he portrays the unlucky lover Sergei in a revival of Armin Petras's masterful production of Shostakovich's Lady Macbeth of Mtsensk. Beginning in January, he suffers an even more grisly fate as the yet unluckier lover Alwa in a new production of Berg's Lulu. In April, he makes his role and house débuts at the Darmstadt State Theater as Dorante and Bacchus in Der Bürger als Edelmann/Ariadne auf Naxos. Finally, he returns to an old favorite—Monostatos in Die Zauberflöte—in his Swedish début at Opera på Skäret.
The sometime pianist made his German chamber music début in the Laeiszhalle in Hamburg in 2015, has appeared as a concerto soloist with the Sinfonieorchester Aachen and Bremer Philharmoniker, and his piano discography includes recordings on the Capstone and Centaur labels. He began his singing career with young-artist engagements at Chautauqua Opera and Glimmerglass Opera in New York before joining the International Opera Studio, and later the ensemble, of the Hamburg State Opera.