Performances of Distinction:
New York City Opera * Florentine Opera
International Debut: Pitea Chamber Orchestra, SwedenWorld Premieres with:
Banff Centre for the Arts (two) * Le Nouvel Ensemble Moderne *
Opera Festival of New Jersey * Vancouver New Music
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Michael maintains a very active performing career as well as a teaching career. In 2005, Michael added Executive/Artistic Director to his titles when he formed a non-profit company, Companion Star, to produce new music-theater works for the stage. Based on the idea of collaboration between artists and composers to create original works that challenge the boundaries of traditional opera and music-theater, the philosophy behind the company comes from his years of collaboration with composers on new works and in particular his work at the Banff Centre. The company’s first season includes two works in progress: Moo, Squeal & Scratch: in the garden of shadows, a piece based on the ancient poetry of Persia and For the Living and the Dead, a Swedish project involving 25 artists from around the world in a bilingual piece based on the poetry of Tomas Tranströmer. For more info please visit www.companionstar.org.
On the faculty of New York University in the Music and Music Professions Department, he taught voice, and was Music Director and Vocal Coach for an innovative new “rap” opera, Odin, in Spring 2006. The work, which was performed in the Fred Lowe Theatre, was praised in the New York Times as “an amazing example of what is possible in the world of new opera.” Michael has been a coach in the Banff Centre’s “Voice through body and movement” workshop with international artist, Richard Armstrong, and served as a voice instructor and guest lecturer at the Banff Centre for their young artist training program entitled “Opera as Theatre”. He is also on the faculty for the Adult Chamber Workshop program at SUNY, Stony Brook.
Michael made his international debut in Sweden, singing the lead role of Director in Kafka‘s Chimp by Welsh composer, John Metcalf. The production was sung in Swedish, preceded by the world premiere at Banff Music Centre for the Arts and sung in English. He reprised this role in a unique remounting of the opera by Quantum Theatre in Pittsburgh in February 2004 with the Pittsburgh Zoo as the venue. Chosen by Metcalf for continued collaboration, Michael starred in the 2005 premiere of The Love of a Chair as man’s best friend, a dog, in Montreal with performances continuing in Wales and England and produced under an agreement between the governments of Quebec and the United Kingdom. Michael developed his role of the Dog over a 3 year period in collaboration with the composer, librettist and stage director through improvisations in creative workshops.
As a perfomer, Michael won the prestigious Jessie award for “outstanding performance by an actor in a leading role” for his creation of the Marquis in 120 Songs for the Marquis de Sade (Hannan) in the world premiere co-produced by Modern Baroque Opera and Vancouver New Music. Highly regarded for his appearances in works of the 20th and 21st centuries, his engagements in other world premieres include Westergaard’s The Tempest as Caliban, for Opera Festival of New Jersey, and Star Catalogues (Underhill) in the leading role of Tycho Brahe for Vancouver New Music. Other performances include Der Kaiser von Atlantis (Ullman) for the Goethe Institute, and a workshop of The Found Manuscript of the Saragosse by Jose Evangelista for Chants Libres of Canada. Long a favorite at the Banff Centre, his appearances there include the Rogue in an adaptation of Dostoevsky’s The Idiot and Arthur in Peter Maxwell Davies The Lighthouse with the latter reprised with the Opera Festival of New Jersey.
Michael, who made his New York City Opera debut in Madama Butterfly, has sung Sarastro in Die Zauberflöte in Victoria, BC; Anchorage, and Sarasota; Sparafucile in Rigoletto for El Paso Opera and Anchorage; the Doktor in Wozzeck,at the Banff Centre and with Le Nouvel Ensemble Moderne in Montreal; Rocco in Fidelio with the operas of Sarasota and Anchorage, the Florida Philharmonic (semi-staged), and the San Antonio Symphony; Colline in La Bohème for the operas of Florentine, El Paso, and Memphis; Timur in Turandot,, the Commendatore in Don Giovanni, and Noye in Noye’s Fludde. Concert appearances have included Stravinsky’s L’histoire du Soldat, Kagel’s Fürst Igor, Stravinsky and Schoenberg’s Ode to Napoleon.
Throughout his career as a vocal coach, Michael has worked with many cabaret artists as musical director, arranger and accompanist. Most notably, Debbie Boily’s Thank You for the Music, a one woman show with Michael at the piano, recorded live at Ovations in June 2004 Houston, Texas and subsequently performed in France, England and New York. Most recently, he recorded an all Jazz CD with Jazz legend, Fred Ho. Michael has recorded operas in progress for Atlantic Records and new works of composers on the BMI label.
Originally from Hawaii, Jones now resides in New York. Where he gardens and raises chickens.
For more information and breaking news please visit:
www.mec-sing.com/michael.html and www.companionstar.org
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Un Ballo in Maschera - - Tom & Sam *
La Boheme - - Colline*
Boris Goudunov - - Pimen
Carmen - - Zuniga*
The Crucible - - Rev. Hale
Don Carlo - - Fillipo
Don Giovanni - - Commendatore*
Ernani - - Silva
La Fanciulla del West - - Ashby
Faust - - Mephistofeles*
Fidelio - - Rocco*
Die fliegende Holländer - -Daland *
La Juive - - Brogni
Kafka's Chimp (John Metcalf) - - Director*
The Lighthouse (Peter M. Davies) - - Arthur*
The Lost Dauphine (Parmentier) - - Daniel Bread *
The Love of a Chair (John Metcalf) - - Dog (premieres 2005) **
Lucia di Lammermoor - - Raimondo
Macbeth - - Banquo
Madama Butterfly - - Bonze*
Manon - - Count
Nabucco - - High Priest*
Norma - - Oroveso
Le nozze di Figaro - - Antonio *
Noye's Fludde - - Noye*
Of Mice and Men - - Curly*
120 Songs for the Marquis de Sade (Peter Hannon) - - Marquis de Sade *
An Opera for the 20th Century... - - Stalin/Unusual Onzali*
Otello - -Lodovico *
Pelléas et Mélisande - - Doctor
Rigoletto - - Sparafucile* & Monterone*
Roméo et Juliette - - Duke* & Friar
The Saint of Bleeker Street - - Don Marco
Star Catalogues (Owen Underhill) - - Tycho Brahae*
La Sonnambula - - Rodolfo*
Susannah - - Elder McLean*
Tosca - - Sacristan & Angelotti
Il Trovatore - - Ferrando
I Vespri Siciliani - - Procida
Wozzeck - - Doktor*
Die Zauberflöte - - Sarastro* & Speaker*
* Performed
**Upcoming
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Marquis de Sade 120 Songs for the Marquis de Sade, Modern Baroque Opera/Vancouver New Music, Mar. 2002
"Although 120 Songa runs a staggering 4 hours,…(it) would be hard to imagine a better singer to portray the marquis than Michael Douglas Jones: his blend of aristocratic hauteur and gleeful carnality is perfect." Alexander Varty, THE GEORGIA STRAIGHT, 3/14/02
Rocco in Fidelio, Florida Philharmonic, July, 2000
"Michael Douglas Jones was an amiable Rocco with a firm bass." James Roos, THE HERALD, 7/17/00The Scientist in Kafka´s Chimp, world premiere, Tour in Sweden by Pitea Chamber Opera, March 1999
"...The director, Keith Turnbull, and the bass singer, Michael Douglas Jones, were in the original production." ... "While Red Peter makes his report, the Director metamorhoses in the opposite direction and reveals that he, too, hides a chimp under his coat. Michael Douglas Jones lets his melodies be more and more interfoliated with strange throat sounds, animal sounds and jungle roars. His body language changes from nice and formal to ape-like rolls and grotesque jumps. The opera ends in a meditation about all who still remember their original state; on the stage - and in the audience." (Svenska Dagbladet) KARIN HELANDER
" Do you think about changes in language? Not so long ago, people spoke about gene manipulation. The perspective of manufacturers and scientists, with the alternative word modification, seems to become more widely used. Maybe gene modification sounds nicer than the threatening manipulation.
The brutish laugh of the scientist is terrifying. Michael D. Jones as the scientist, or maybe rather the Director, undergoes an awe-inspiring metamorphosis. I won´t reveal what happens, but it´s very spectacular to see all his human garb below the podium at the scientific symposium...Kafka´s Chimp could be described as an anti-hierarchic opera. There is no conductor. Dancers, singers and instrumentalists all acted together on stage. The show grew out of a theatrical experiment.This valuable contemporary opera can be heard in a perspective that dares to put worrying questions to scientific habits and multi-national profits." (Norrlandsoperan "The Opera of northern Sweden") PER-INGE PLANEFORS
"The opera premiere that Piteå Chamber Opera treated us to at Storsjöteatern this weekend was an artistic experience in world class." ... "I don´t think our county has ever seen an opera premiere of this calibre. Beautiful new music, story and libretto with depth and message, impressive set design, beautiful dance scenes and high class singers." ... "The barytone Arne Lundmark, as Red Peter, and the American bass Michael Douglas Jones, were impressive actors. Their portrayal of apes was right on the spot. The same goes for the dancers. Lundmark and Jones had carrying and elastic voices." (Länstidningen, Östersund) BERNT CARLSSON
Antonio in The Marriage of Figaro, Opera Festival of New Jersey, July, 1998
"Michael Douglas Jones as the gardener Antonio virtually steals one scene from the principals with a combination of singing and comic relief." Stuart Duncan, BUCKS COUNTY COURIER TIMES, 7/98"Michael Douglas Jones had a great time as Barbarina's father Antonio. In a purely comic role, he lived up to the vocal expectations and carried off the broad humor well. CLASSICAL NEW JERSEY, 7/8/98
"The big cast is rounded out by Michael Douglas Jones' firmly sung Antonio." Robert Baxter, COURIER-POST, 6/23/98
Colline in La Boheme, The Opera Co. (El Paso, Texas), March, 1998
"These lead singers were well-chosen. They not only sing magnificently but also project their characters well." Marcia Fountain, EL PASO TIMES, 3/14/98Count Rodolfo La Sonnambula, Anchorage Opera, April, 1998
"The principal singers excelled in the technically difficult bel canto style and were well-matched with each other. Michael Douglas Jones as Count Rodolfo provided the velvet tones to complement the soprano and tenor. Jones' bass voice took on the warmth and emotion of a fatherly figure." Julie Sopalski, ANCHORAGE DAILY NEWS, 4/98
Colline in La Boheme, Florentine Opera, November, 1997
"Fine singing held from the top of the cast down through Parpignol. Rodolfo's pals...Michael Jones as Colline...sang in ensemble with an easy grace and blend suggestive of one-for-all friendship. Alone, each proved capable of carrying over an orchestra with no strain and of projecting dramatic sense and musical shape." Tom Strini, JOURNAL SENTINEL, 11/23/97
"The rest of the performers were never less than good, I thought, as far as their singing went, but they varied in their effectiveness as actors...In contrast, Michael D. Jones played and sang a very engaging Colline. This philosopher knew how to smile and deal with events in the characters' lives with both warmth and dignity."
Mephistopheles in Faust, Anchorage Opera, February, 1997
"Devil steals the show in 'Faust". "As Mephistopheles, Michael Douglas Jones oozed demonic tension in his acting and singing whether he was tempting the village crowd with gold or torturing the fair Marguerite with visions of hell. Jones had the voice and finesse to create a frighteningly imposing but slick version of Satan." J. Sopalski, ANCHORAGE DAILY NEWS, 2/2/97
The Director in Kafka's Chimp (J. Metcalf), Banff Arts Festival, August, 1996
"The singers, most notably Horst...and Michael Jones as the Trainer, were excellent, bring to their roles not only an impressive command of vocal technique but also a strong dramatic presence." Kenneth DeLong, CALGARY HERALD, 8/96
Sarastro in Die Zauberflöte, Anchorage Opera, November, 1995
"Michael Jones paced serenely and sang his lines seriously and well." Julia Sopalsky, ANCHORAGE DAILY NEWS, 11/95
Sarastro in Die Zauberflöte, Victoria Conservatory of Music's Opera Studio, Canada, December, 1995
"No one sang better than bass Michael Douglas Jones, who as Sarastro delivered the noble O Isis und Osiris and other arias with a rich, natural-sounding timbre." Adrian Chamberlain, TIMES COLONIST, 12/95
The Doctor in Wozzeck with Le Nouvel Ensemble Moderne, September, 1995
"The Doctor, sung by Michael Douglas Jones, gave us cold chills." Dominique Olivier, VOIR, Sept. 19, 1995
Rocco in Fidelio, Sarasota Opera, March, 1995
"Michael Douglas Jones was excellent in every way as Rocco." John Koopman, DAS OPERNGLAS
"Michael Douglas Jones offered a sturdy, charming Rocco." Tim Smith, OPERA NEWS, 7/95 and OPERA, 7/95
"Michael Douglas Jones (was) a reliable Rocco." Jeffrey C. Smith, L'OPERA (Milan) Jl/Aug '95 and OPERA CANADA
"The second leads are more impressive: Michael Douglas Jones as a scared but decent jailer." Marie Kilker, IN OPERA 3/95
"As Marzelline's father, bass Michael Douglas Jones projects a rich warmth and compassion in voice and demeanor." Virginia Page, BRADENTON HERALD 3/14/95
"Michael Douglas Jones as Rocco delivers his paean to gold (greed is good) in his fine bass voice but projects an aura of decency as he refuses Pizarro's bribe to murder the prisoner." Florence Fisher, SARASOTA HERALD-TRIBUNE, 3/14/95
High Priest of Baal in Nabucco, Sarasota Opera, March, 1995
"Bass Michael Douglas Jones as the high priest of Baal was excellent. I am eager to see him in Fidelio." Keneth Blount, VENICE GONDOLIER, 2/15/95
Tycho Brahe in The Star Catalogues, Vancouver New Music, October , 1994 (world premiere)
"The plot...details the death of the great astronomer, Tycho Brahe...Michael Douglas Jones (as Tycho) and Fides Krucker (as Sofie) were both impressive: Jones for the combination of bravado and fear that he brought to the role of the dying astronomer." Alexander Varty, THE GEORGIA STRAIGHT, 10/28/94
"The opera focuses on the extravagant and obsessive Tycho Brahe...Suitably stellar opening night performances from the principles; New York bass Michael Douglas Jones, as a magisterial Brahe. Michael Scott, THE VANCOUVER SUN, 10/24/94
"Suitably stellar opening night performances from the principles: New York bass Michael Douglas Jones, as a magisterial Brahe.." Michael Scott, SUN MUSIC
Caliban in The Tempest with Opera Festival of New Jersey, July, 1994
"...a riveting, gorgeously staged, beautifully sung setting of Shakespeare's last play. It takes a special breed of singer to master this genre, and the cast of The Tempest has it in abundance. Also memorable were baritone Michael Jones as the montrous Caliban..." Donal P. Delany, The Times, 7/12/94
Arthur in The Lighthouse (Peter Maxwell Davies) with Opera Festival of New Jersey, July, 1993
"Work this fine succeeds in setting an altogether new standard for opera production in this state, on all levels. What we're talking about here are total sophistication, total professionalism, total commitment - and the courage to dare...The cast cannot be praised too highly. Jones was saddled with the totally unsympathetic role of Arthur, a Bible-thumper whose self-righteousness and hypocrisy do much to trigger the catastrophe that befalls all three. The acting - solo and ensemble - was never less than top-drawer." Michael Redmond, THE STAR LEDGER, 7/93
"The fact that three singers play all the roles compounds the mystery at the same time it wins admiration for the singers...The piece finally depends on the ability of the singers to project the text...and it was the lower voices of Michael Wilson and Michael Jones that delivered the words the listeners needed to know. The ensemble playing of the three made the work flow dramatically, and their singing was dramatic, theatrical, but always based on an ensemble premise." Daniel Webster, THE PHILADELPHIA INQUIRER, July 12, 1993
"Most of the singing requires an enormous range. The trio, including Michael Wilson and Michael D. Jones, are well up to it. They're also called upon to do more convincing acting than most opera requires...It's an intense theatrical experience, like many Shakespearean plays. It requires good acting and these men do an able job of advancing the action." Marci Shatzman, THE TRENTONIAN, July 9, 1993
Bonze in Madama Butterfly with Florentine Opera, March, 1993
"Elizabeth Hynes...was the whole package as Cio-cio-san.The color of her singing matched the emotion of the moment...Hynes' body language was as eloquent as her voice...Hynes built her character around a spine of dignity...The supporting principals...Michael D. Jones' Bonze - were on the same page as Hynes." Tom Strini, MILWAUKEE JOURNAL, Mar.20, 1993
Arias Concert Concord Chamber Orchestra (Milwaukee) February, 1992
"In theatrical terms, however, only Jones (particularly in "Come dal Ciel" from Verdi's Macbeth) demonstrated the kind of confidence and ease that made it possible to focus entirely on the music." Nancy Raabe. MILWAUKEE SENTINEL, 2/24/92
Duparquet in Ciboulette with Ohio Light Opera, July, 1990:
"...the show's strongest performer, Michael Jones...Jones's haunting baritone leaves one breathless. His entrance, 'Boys and Girls Today, When They're 20' saves...[the] tavern scene, and his exploration of tragedy and grief in 'And This is All I Have That Belonged to Her' provides by far the shows strongest moment." Tami Lange, THE DAILY RECORD, Cleveland,
"By far the best blend of vocal and dramatic characterization came for baritone Michael Jones as Duparquet..." Robert Finn, The Plain Dealer, Cleveland, 7/7/90
"The real star of the cast, though, was Michael Jones as Duparquet. With his acting talents and his singing skills, he was a treat." Elaine Guregian, THE BEACON JOURNAL, 7/4/90
Other Selected Roles:
"As Pasquale, Michael Jones was close to ideal vocally. He has a strongly projected bass-baritone and impeccable diction." David Perkins, THE NEWS AND OBSERVER, Raleigh, 3/1/90
"Alidoro...was portrayed by Michael Jones in a convincing and mature sounding voice, appropriate to the role." Sterling Adams, SAVANA NEWS-PRESS, 1/28/90
"Bass-baritone Michael Jones electrified the crowd with his big booming sound in 'O tu Palermo'...He has tremendous potential as a leading bel canto singer. ...The program concluded with Mr. Yates and Mr. Jones hamming it up hilariously in English as Dandini and Don Magnifico in 'There's a Secret'..." Alan J. Senzel, RALEIGH OBSERVER, 9/24/89
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Mary Ella Collins &
Associates
(972) 661-9074