"The evening's surprise" Fidelio

The evening's surprise was young, "emos haired" Timur Bekbosunov who excellently solved Piet vom Faß technically demanding role. Astradamors lighter voices in Hungary.

"Extravagantly transgressive tenor" LA Times

"Pierrot," written for the extravagantly transgressive tenor Timur Bekbosunov, is a setting of 10 drunkenly hallucinatory texts by another irresistible extravagant, the cultural critic and poet Wayne Koestenbaum. "I like Wayne," Fairouz said in a video introduction, "because he's highbrow enough for my tastes. But he's quite dirty." Fairouz and Koestenbaum pay crazy homage to the centenary this year of Schoenberg's "Pierrot Lunaire," which (as with Stravinsky's "Rite of Spring") also just turned 100. The ensemble of flute, clarinet, violin and piano is the same that Schoenberg used, and it was nice to have six numbers premiered from Fairouz's "Pierrot" barely more than three miles from where

"Huge resounding power and virtuosity" Revizor (Hungary)

One of them is breathtaking Kazakh-American tenor (as well as contemporary music is producer-director, and Eötvös He premiered Gubaidulina's creative partner), Timur Bekbosunov who lined the role of the drunkard Piet wind and huge resounding power and virtuosity made it quite scary unforgettable. Egyikük a lélegzetelállító kazah-amerikai tenorista (továbbá kortárs zenei produkciók producer-rendezője, Eötvös és Gubajdulina alkotótársa), Timur Bekbosunov, aki a részeges és széllel bélelt Piet szerepét hatalmas átütő erővel és egészen félelmetes virtuozitással tette felejthetetlenné.

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© 2016 The Opera of Timur Productions

All photos are by Sandra Powers, unless indicated otherwise.