"BOUVIER, A BARITONE WITH A RICH TIMBRE AND A FINE SENSE OF LINE, BROUGHT CONSIDERABLE CHARACTER TO SONGS BY BRAHMS AND PAUL BOWLES"
-- New York Times
Praised by Opera News for a “soothing, cavernous baritone that can soar to heights of lyric beauty,” and by the New York Times for his “rich timbre and a fine sense of line,” Alabama-born baritone Mischa Bouvier continues to impact audiences with his keen musicality and remarkable communicative ability.
Highlights of Mischa’s current season include Handel’s Messiah with the American Bach Soloists at Grace Cathedral in San Francisco; St. John’s Passion with TENET at the Deutsche Evangelisch-Lutherische St. Pauls Kirche in New York City; the seventh annual performance of Monteverdi’s Vespers with Green Mountain Project and Dark Horse Consort; several concerts with the Mirror Visions Ensemble in New York City and Paris; and recordings of David Starobin’s From Tchaikovsky's Letters with guitarist Robert Belinić for the Bridge Records label, and duo cantatas of Agostino Steffani with soprano Céline Ricci and harpsichordist Jory Vinikour at Sono Luminus Studios.
2015-2016 season highlights included collaborations with the Lysander Piano Trio at the Lincoln Center in Fort Collins and the Lakewood Cultural Center; the bass roles in Purcell’s The Fairy-Queen with Chatham Baroque; the world premiere of Bryan Page’s cycle The Edith Poems for the Music at the Mansion series at Strathmore; return engagements with the American Bach Soloists (Bach cantatas 70 and 147), TENET (Buxtehude’s Membra Jesu Nostri); and Bach Collegium San Diego (Handel’s Messiah, and a program of 18th-century Latin American music); Vaughan Williams’s Fantasia on Christmas Carols with the Tallahassee Symphony; and recitals in Massachusetts, New York, Pennsylvania and Florida.
Recent featured performances include Mischa’s Lincoln Center debut with Musica Sacra singing the New York premiere of Jocelyn Hagen’s amass at Alice Tully Hall under the baton of conductor Kent Tritle; his Carnegie Hall Stern Auditorium debut with Orchestra of St. Luke’s and Musica Sacra in Bach’s St. Matthew Passion (arias) under the baton of Iván Fischer; his Zankel Hall at Carnegie Hall debut singing Alwan in an unstaged performance of Mohammed Fairouz’s opera Sumeida’s Song (which he also recorded for the Bridge Records label); and his Boston Symphony Hall debut singing the role of Jigger Craigin in a semi-staged performance of Rodgers & Hammerstein's Carousel with Keith Lockhart and the Boston Pops (available on the BSO Classics label).
Other recent highlights include Bach’s St. Matthew Passion (Jesus) under the baton of Helmuth Rilling for the Festival Casals de Puerto Rico; the premiere of several new works by living Swedish composers in Paris (commissioned by Mirror Visions Ensemble); Handel’s Acis and Galatea (Polyphemus) and Apollo e Dafne (Apollo), and the American premiere of Lotti’s Mass for 3 Voices with the American Bach Soloists; the role of Lucifer in Handel’s La Resurrezione with the Helicon Ensemble at the Morgan Library and Yale University, and with Bach Collegium San Diego in L.A.; Arvo Pärt’s Passio (Evangelisti) for the “collected stories” series at Carnegie Hall, curated by David Lang; Bach’s St. John Passion (Pilate and arias) with the Saint Thomas Choir of Men and Boys under the direction of the late John Scott; Fauré’s Requiem and Vaughan Williams’s Five Mystical Songs with the Princeton Glee Club; and debuts with the Alabama Symphony (Handel’s Messiah), Columbus Symphony Orchestra (Brahms’s Requiem), Stamford Symphony (Mozart’s Requiem), and Symphony of Northwest Arkansas (Brahms’s Requiem).
An avid recitalist, Mischa’s recent collaborations with pianist Yegor Shevtsov have included recitals for the Macon Concert Series; Clemson University’s Utsey Chamber Music Series at the Brooks Center for the Performing Arts at Clemson University; the Baldwin-Wallace Art Song Festival; Trinity Church’s Concerts at One series; the Rockport Chamber Music Festival; Planting Fields’ Music at the Mansion Concert Series; Cold Springs Harbor Cultural Series; the Manhattan School of Music; and the Abbey Church at St. Martin’s University. Mischa has also offered recitals throughout the United States, and in Shanghai and Taipei.
A strong advocate of new music, Mischa offered a series of concerts in 2012-2013 at Brooklyn’s Barbès focusing on contemporary music and exploring popular American song in collaboration with soprano Sarah Wolfson. He has given several NYC performances of Mohammed Fairouz’s Furia, including a version commissioned by The Knights, has sung regional premieres of Lori Laitman’s Men With Small Heads, Daniel Bernard Roumain‘s The Lament of Gilgamesh, and Paul Moravec’s Songs of Love and War, and offered the world premieres of Charles Fussell’s cycle Venture (Festival of Contemporary Music at Tanglewood) and Bryan Page’s 25 Poems (Waltham Symphony's Chamber Music Series) and Serenade. Mischa’s 2012 debut recital at Carnegie Hall’s Weill Recital Hall featured new works by four emerging composers, including world premieres by Bryan Page and Yotam Haber (“A Wife Explains Why She Likes Country”), and songs by Ted Hearne and Gabriel Kahane. This season, Mischa will premiere a new cycle for soprano, baritone and piano by composer Daniel Temkin (commissioned by the Mirror Visions Ensemble).
Recent operatic roles include Moneybags Billy in Weill’s The Rise and Fall of the City of Mahagonny at Tanglewood, with casting by James Levine; Lucifer in a semi-staged version of Handel’s La Resurrezione with the Baroque Band in Chicago; and Betto in Puccini’s Gianni Schicchi with the Dupage Opera Theatre. Mischa has performed the role of Malatesta in Don Pasquale with Opera in the Heights and Bronx Opera, Le médecin in Debussy’s Pelléas et Mélisande, Enrico in Haydn’s L’isola disabitata, and Bardolph and Chief Justice in Gordon Getty’s Plump Jack (including the Mexican premiere at the Ángela Peralta Opera House in Mazatlán).
Mischa has collaborated with a wide array of ensembles including Anonymous 4, the Mark Morris Dance Group, the New York Festival of Song, the American Handel Society, the New Mexico Symphony Orchestra, the Boston Symphony Orchestra, Five Boroughs Music Festival, the Long Island Philharmonic, the Metropolis Ensemble, the Folger Consort, the Catacoustic Consort, SongFusion, the Dryden Ensemble, Cut Circle, Close Encounters with Music, Sting, and Christopher Williams Dance.
Mischa received his B.M. from Boston University and his M.M. from the University and Cincinnati College-Conservatory of Music. He is an alumnus of the Lyric Opera Cleveland Young Artist Program, the Internationale Meisterkurse für Musik Zürich, the Carmel Bach Festival, the American Bach Soloists ACADEMY, and the Tanglewood Music Festival. He has studied with William Sharp, Thomas Baresel and Mark Schnaible, and is the grand-nephew of renowned Swiss tenor Ernst Haefliger. Mischa is also a co-owner of Pignut BBQ in Berlin, Germany.