New York’s Metropolitan Opera National Council Auditions Grand Finals concert is the birthplace of opera stars. Renée Fleming eventually made it on her third attempt. But in 2017 a ‘baby-faced’ 23-year-old from Brooklyn made a comet-sized impact, prompting a veteran critic from The New York Times to describe Aryeh Nussbaum Cohen as “a complete artist…possess[ing] a remarkable gift for intimate communication in a vast hall, combined with a voice of velvety gentleness — surprisingly penetrating given the tenderness of its texture.”

A break-out star from the beginning.

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Adelaide already is lucky enough to be hosting this remarkable counter-tenor as Oberon in A Midsummer Night's Dream, and adding to that the chance to hear him in recital almost seems greedy.

While his Handel is sublime, Aryeh’s embrace of 20th century and contemporary repertoire is central to his artistry so there’s little need for disclaimers about this not being an all-baroque program. What you may not expect is the extraordinary diversity of styles on display: three heady Henri Duparc chansons, four songs by Brahms (including his famous, anguished My Wounded Heart), Ravel’s haunting Kaddish, Leslie Adam’s exquisite setting of Prayer by Langston Hughes. Really, nothing in this selection would be out of place at a Jessye Norman recital (although she never got to sing Misty for us!).

To experience, live, a voice as subtle, emotionally powerful and transporting as this is rare indeed. For it to be combined with communicative skill on this level makes it precious. What’s more, he is accompanied by our brilliant resident Russian pianist Konstantin Shamray. Adelaide’s luck knows no bounds!

Book this minute. Reduced capacity means selling out is a certainty.

Extravagantly gifted... he seem[s] poised to redefine what's possible for singers of this distinctive voice type.

SAN FRANCISCO CHRONICLE

Expressive yet dignified, his phrasing confident and his ornamentation stylishly discreet, he brought tears to my eyes.

NEW YORK TIMES