Nicholas Probst currently divides his time between New York City and Stuttgart,
Germany, where he has been serving as apprentice artist with the Staatsoper
Stuttgart, singing in the productions of Turandot and Parsifal,
the latter recently making a clamor in the world of opera for its coarse,
modern interpretation. In April,
Nicholas was invited to appear with the conductor Manfred Honeck at the Liederhalle,
performing the Walter Braunfels Grosse Messe, Op. 37—a work seeing only its
second public performance since 1927.
For the past
three years Nicholas has participated in the European Music Festival under the
baton of Helmuth Rilling. He was a featured
soloist with the Festivalensemble Stuttgart in J.S. Bach’s St. Matthew Passion in 2008, and returned last year for the
première of Sven-David Sandström’s Messiah
at the Berlin Philharmonie. In 2009, Nicholas
appeared in the closing concerts of the festival with the renowned Gächinger
Kantorei, performing Haydn’s Die
Schöpfung and Mendelssohn’s 2.
Sinfonie, “Lobgesang,” Op. 52.
In New York,
Nicholas performs regularly with such esteemed companies as American Opera
Projects, Dicapo Opera Theatre, and New York Lyric Opera, with whom he
interpreted the role of Lescaut in Massenet’s Manon at Carnegie Hall, followed by a more recent performance of
Papageno in Mozart’s Die Zauberflöte
at Symphony Space in January of this year.
Nicholas has been a member
of the Simon Carrington Chamber Singers since 2009, with whom he sang the role
of Historicus in Charpentier’s miniature oratorio: Le Reniement de Saint Pierre. His upcoming
engagements include a tour of Germany in July, singing in Mahler’s Sinfonie Nr. 8, “Symphonie der Tausend,”
with Bamberg Symphony Orchestra, followed by a role in Tchaikovsky’s Pikovaya Dama (The Queen of Spades) with
Union Avenue Opera this August. In fall,
Nicholas intends to pursue his doctoral studies in voice at the Indiana
University Jacobs School of Music.
