Steven Osgood, with his unique
combination of theatrical and musical background, brings to the podium
a
musical incisiveness and dramatic insight which is rare in today’s
emerging conductors. He has proven himself comfortable in
repertoire ranging from the Baroque through this century’s most
challenging scores, and is quickly becoming a much sought after
conductor across North America.
From 2001 to 2008 Mr. Osgood was Artistic Director of American Opera Projects, a company dedicated to the development and production of new operatic works. With AOP he conducted the world premieres of Paula Kimper’s Patience and Sarah at the 1998 Lincoln Center Festival, and Janice Hamer’s Lost Childhood at the International Vocal Arts Institute in Tel Aviv in 2007. He also created the company’s nationally recognized Composers and the Voice Workshop Series, which is now in its fifth season.
From 2001 to 2008 Mr. Osgood was Artistic Director of American Opera Projects, a company dedicated to the development and production of new operatic works. With AOP he conducted the world premieres of Paula Kimper’s Patience and Sarah at the 1998 Lincoln Center Festival, and Janice Hamer’s Lost Childhood at the International Vocal Arts Institute in Tel Aviv in 2007. He also created the company’s nationally recognized Composers and the Voice Workshop Series, which is now in its fifth season.
Mr. Osgood’s commitment to contemporary opera extends well beyond his work with American Opera Projects. He prepared the world premiere production of Tan Dun’s first opera Marco Polo for the Munich Bienalle in 1996. Tan then invited him to conduct the world premiere production and tour of his second opera Peony Pavilion, with director Peter Sellars. Mr. Osgood also conducted the world premiere of Jonathan Sheffer’s Blood on the Dining Room Floor in its critically acclaimed Off-Broadway run. With the Santa Fe Opera he was Assistant Conductor for the world premieres of Peter Lieberson’s Ashoka’s Dream, and Bright Sheng’s Madame Mao, as well as the American premieres of Hans Werner Henze’s Venus und Adonis, and Kaija Saariaho’s L’amour de loin. With DiCapo Opera Theater he has conducted Carlisle Floyd’s Susannah, and the American premiere of the chamber version of Tobias Picker’s Thérèse Raquin. Mr. Osgood led Manhattan School of Music’s production of Lee Hoiby’ rarely heard A Month in the Country, a recording of which is available on Albany Records.
Mr. Osgood has worked with many of North America’s premiere opera companies, including the Lake George Opera Festival, Canadian Opera Company, and the San Francisco Opera. He made his New York City Opera debut conducting La bohème in 2003. In 2006 he made his debut with Edmonton Opera conducting the renowned Robert LePage production of Bluebeard’s Castle and Erwartung. He joined the music staff of the Metropolitan Opera in 2006 as Assistant Conductor for the world premiere of Tan Dun’s The First Emperor.
In the 2007/08 season Mr. Osgood led workshops of Tarik O’Regan’s Heart of Darkness, Conrad Cummings’ The Golden Gate, and Séance on a Wet Afternoon by Stephen Schwartz for American Opera Projects. He conducted Lukas Foss’ Griffelkin at Manhattan School of Music, and returns to the Metropolitan Opera as Assistant Conductor for productions of La Traviata, Phillip Glass’ Satyagraha, and Tan’s The First Emperor. In April he conducts Stravinsky's vocal works with the ICE Ensemble at the Morgan Library.
The 2008/09 features productions of Xenakis's Oresteia at the Miller Theater, directed by Luca Vegetti, as well as Tan Dun's Marco Polo with De Nederlands Opera, directed by Pierre Audi. Next season Mr. Osgood also returns to Edmonton Opera to conduct La Traviata.