One of the most important dramatic tenors in the world today, Brandon Jovanovich is sought after by the world’s leading opera companies, including the Opéra National de Paris, Metropolitan Opera, Deutsche Oper Berlin, Bayerische Staatsoper in Munich, Opernhaus Zürich, Gran Teatre del Liceu in Barcelona, Théâtre Royal de la Monnaie in Brussels, San Francisco Opera, Lyric Opera of Chicago, Canadian Opera Company, Houston Grand Opera, Opera Australia, and Glyndebourne Festival. Jovanovich commands an especially wide repertoire ranging from Florestan in Fidelio to such Wagnerian roles as Siegmund in Die Walküre and the title roles in Lohengrin and Parsifal, as well as Cavaradossi in Tosca, Dick Johnson in La Fanciulla del West, Gherman in The Queen of Spades, Don José in Carmen, and Enée in Les Troyens.
Jovanovich began the 2019/20 season with two significant role and house debuts: Canio in Pagliacci at the Dutch National Opera in Amsterdam and Samson in Samson et Dalila at the Staatsoper Berlin. He recently appeared at the Lyric Opera of Chicago in The Queen of Spades and Madama Butterfly. Next season, the tenor will make his house debut at the Washington National Opera as Florestan in Fidelio, which he will then reprise at the Metropolitan Opera. He will also return to the Deutsche Oper Berlin as Siegmund in a new production of Die Walküre, to the Opéra National de Paris for a new production of The Queen of Spades, to the Wiener Staatsoper as Bacchus in Ariadne auf Naxos, and to the Bayerische Staatsoper in the title role of Parsifal.
In the 2018/19 season, Jovanovich appeared at the Wiener Staatsoper as Enée in Les Troyens and subsequently reprised the role in a new production at the Opéra National de Paris. He also returned to the Deutsche Oper Berlin for his debut in the title role of Parsifal, to the Bayerische Staatsoper as Dick Johnson in La Fanciulla del West, and to the San Francisco Opera as the Prince in Rusalka, a role he has sung often in theaters including the Metropolitan Opera and Vienna State Opera and at the Glyndebourne Festival. In the 2017/18 season, Jovanovich made his debut at the Royal Opera House, Covent Garden as Sergei in Lady Macbeth of Mtsensk, as well as his debut in the role of Dick Johnson at the Opernhaus Zürich. He also returned to the Deutsche Oper Berlin as the title role in Lohengrin, appeared at the Los Angeles Opera as Don José in Carmen, and sang Siegmund in Die Walküre at the Lyric Opera of Chicago and San Francisco Opera. Jovanovich made his highly acclaimed debut at the Salzburg Festival in 2017 as Sergei and returned in 2018 as Gherman in The Queen of Spades, conducted by Marius Jansons.
In the 2016/17 season, Jovanovich made his debut at the Wiener Staatsoper as Don José, later returning to Vienna as Sergei. He also returned to the Metropolitan Opera as the Prince in Rusalka, to the Lyric Opera of Chicago as Enée and Don José, to the Deutsche Oper Berlin as Siegmund, and to the Opernhaus Zürich as Lohengrin. On the concert platform, Jovanovich made his debut with the Hallé Orchestra, singing Schoenberg’s Gurre-Lieder under Sir Mark Elder. Highlights from Jovanovich’s 2015/16 season included two role debuts: Tambourmajor in Wozzeck at Opernhaus Zürich and Walther in Die Meistersinger von Nurnberg at San Francisco Opera under the baton of Sir Mark Elder. The tenor also made his much-anticipated house debut with Opéra National de Paris as Walther under the baton of Philippe Jordan. Jovanovich returned to the Bayerische Staatsoper as des Grieux in Manon Lescaut under the baton of Asher Fisch, and as Don José under the baton of Dan Ettinger. He concluded the season with his company debut at Opera Australia as Don José in a new production of Carmen.
Jovanovich opened the 2014/15 season at the San Francisco Opera as Sam in Michael Cavanagh’s new production of Floyd’s Susannah, followed by his return to the Metropolitan Opera as Sergei in Lady Macbeth of Mtsensk under the baton of James Conlon. Other operatic highlights of the season included Walter in the Lyric Opera of Chicago’s production of Weinberg’s The Passenger and a reprise of his acclaimed Florestan in Beethoven’s Fidelio at the Opernhaus Zürich, under the baton of Fabio Luisi. Orchestral engagements included Beethoven’s Missa Solemnis with the Los Angeles Philharmonic and San Francisco Symphony, both under the baton of Michael Tilson Thomas, and his Vienna debut performing Janacek’s Glagolitic Mass with the Czech Philarmonic Orchestra. Concert performances included Fidelio with Michael Tilson Thomas and the San Francisco Symphony, as well as his New York Philharmonic debut in Verdi’s Requiem under the baton of Alan Gilbert.
Highlights from Jovanovich’s recent seasons include the Prince in SirDavid McVicar’s new production of Rusalka at the Lyric Opera of Chicago, opposite Ana María Martínez; Don José at the Los Angeles Opera conducted by Plácido Domingo, the Dallas Opera conducted by Emmanuel Villaume, Opernhaus Zürich conducted by Vasily Petrenko, and in a new production at the Houston Grand Opera; the title role in Lohengrin at the San Francisco Opera conducted by Nicola Luisotti; Florestan in Andreas Homoki’s new production of Fidelio at Opernhaus Zürich, conducted by Fabio Luisi, and at the Verbier Festival under the baton of Marc Minkowski; Pinkerton in Madama Butterfly at the Los Angeles Opera; des Grieux at La Monnaie; and Sergei in a new production of Lady Macbeth of Mtsensk at Opernhaus Zürich.
Jovanovich has also sung the title role in Les contes d’Hoffmann at La Scala; Bacchus in Ariadne auf Naxos at the Bayerische Staatsoper, Lyric Opera of Chicago and Boston Lyric Opera; Don José at the Deutsche Oper Berlin, Gran Teatre del Liceu in Barcelona, Lyric Opera of Chicago, Bayerische Staatsoper and Metropolitan Opera; the title role in Don Carlos with the Houston Grand Opera; the title role in Peter Grimes at the Teatro di San Carlo in Naples; and Cavaradossi in Tosca with the Canadian Opera Company, Oper Köln, Seattle Opera, Opéra National de Bordeaux, Vlaamse Opera in Belgium, and at the Bregenz Festival (which was featured in the James Bond film Quantum of Solace). Jovanovich’s Pinkerton has been seen at the Metropolitan Opera, Santa Fe Opera, Dallas Opera, Los Angeles Opera and San Francisco Opera, where it was broadcast in high-definition in movie theatres across the United States. He has also appeared in concert internationally in such works as Mahler’s Das Lied von der Erde, Schoenberg’s Gurrelieder, and the Verdi Requiem.