{"id":1845,"date":"2022-08-15T16:01:42","date_gmt":"2022-08-15T14:01:42","guid":{"rendered":"https:\/\/centrestagemanagement.com\/?p=1845"},"modified":"2026-11-02T09:23:11","modified_gmt":"2026-11-02T08:23:11","slug":"cameron-shahbazi","status":"publish","type":"post","link":"https:\/\/centrestagemanagement.com\/en\/artists\/countertenor-artist\/cameron-shahbazi\/","title":{"rendered":"Cameron Shahbazi"},"content":{"rendered":"

Rising countertenor Cameron Shahbazi, praised for his \u201cfull, voluminous\u201d voice and \u201cpersonal and beautiful\u201d timbre (De Trouw<\/em>), is celebrated for his acclaimed interpretations of both baroque and contemporary music. In 2023, he was awarded the prestigious Opus Klassik Award in the \u2018Innovative Concert of the Year\u2019 category for his brainchild entitled \u201cWoman.Life.Freedom.\u201d, a benefit concert at Oper Frankfurt produced in support of human rights in Iran.<\/p>\n

The 2026\/27 season brings a wealth of concert engagements for Cameron Shahbazi. Highlights include joining Gustavo Dudamel at Barcelona\u2019s Gran Teatre del Liceu for a new project by Shirin Neshat, concert performances of Sesto in Handel\u2019s Giulio Cesare<\/em><\/strong> with the China Philharmonic Orchestra at the Beijing Music Festival, and George Benjamin\u2019s Picture a Day Like This<\/em><\/strong> with the Bavarian Radio Symphony Orchestra under Sir Simon Rattle. For his debut with Opera Philadelphia, he creates the role of Max in the premiere of Sitcom<\/em><\/strong> by composer Luke Styles. Further engagements include Bach\u2019s Magnificat<\/em><\/strong> with the Orquesta de Val\u00e8ncia, Pergolesi\u2019s Stabat Mater<\/em><\/strong> with Il Pomo d\u2019Oro at Festival d\u2019Aix-en-Provence and Handel\u2019s Messiah<\/em><\/strong> with the Royal Symphony Orchestra of Seville. Shahbazi also makes his first appearance with the Macao Orchestra under Laurence Cummings and presents a recital with Jeff Cohen at the Victoria de los \u00c1ngeles Festival in Barcelona.<\/p>\n

Recent seasons featured several important debuts for Cameron Shahbazi. He made his house debuts at the Palau de les Arts Reina Sof\u00eda in Valencia and at the Gran Teatre del Liceu in Barcelona as Tolomeo in\u00a0 Giulio Cesare<\/em><\/strong>, a role he subsequently reprised in his company debut with the Deutsche Oper Berlin. He also appeared as Tolomeo at the Glyndebourne Festival and at Dutch National Opera, and stepped in at short notice as Tolomeo in Handel\u2019s Tolomeo, re d\u2019Egitto<\/em><\/strong> with the Basel Chamber Orchestra for performances at Amsterdam\u2019s Concertgebouw and Barcelona\u2019s Palau de la M\u00fasica Catalana. Shahbazi appeared at Vancouver Opera as The Refugee in Jonathan Dove\u2019s Flight<\/em><\/strong>, and at the Royal Opera House Covent Garden as Hamor in Handel\u2019s Jephta<\/em><\/strong>. He also made his company debut with the Bayerische Staatsoper as Anfinomo in Il ritorno\/The Year of Magical Thinking<\/em><\/strong>.<\/p>\n

Further highlights include his Oper Frankfurt debut as Oberon in a new production of A Midsummer Night\u2019s Dream<\/em><\/strong> and the title role in Tolomeo, re d\u2019Egitto<\/em><\/strong> at the Internationale Handel-Festspiele Karlsruhe in a production by Benjamin Lazar. He made his Russian debut as Tolomeo in Giulio Cesare<\/em><\/strong> with the Moscow Chamber Ensemble and earned critical acclaim as First Angel\/Boy in George Benjamin\u2019s Written on Skin<\/em><\/strong> at Oper K\u00f6ln, where he also sang Guildenstern in Brett Dean\u2019s Hamlet<\/em><\/strong>. As an associate artist of the Dutch National Opera Studio, he created the role of Sergey Diaghilev in Willem Jeths\u2019 Ritratto<\/em><\/strong>. Other appearances include Disinganno in Handel\u2019s Il trionfo del Tempo e del Disinganno<\/em><\/strong> at Theater Aachen and the title role in Cavalli\u2019s Il Giasone<\/em><\/strong> for Opera NEO.<\/p>\n

A major career milestone was his involvement in George Benjamin\u2019s Picture a Day Like This<\/em><\/strong>, which began with the world premiere at Festival d\u2019Aix-en-Provence. He subsequently made his company debut at the Linbury Theatre in London in the Olivier Award-nominated production before reprising it at the Op\u00e9ra Comique in Paris, Op\u00e9ra national du Rhin, Grand Th\u00e9\u00e2tre de Luxembourg, Teatro di San Carlo in Naples, and Oper K\u00f6ln.<\/p>\n

A sought-after concert performer, Shahbazi was heard as soloist in Carl Orff’s Carmina Burana<\/em><\/strong> with the Royal Stockholm Philharmonic, Pergolesi\u2019s Stabat Mater<\/em><\/strong> with Orchestre de l\u2019Op\u00e9ra Royal in Versailles, George Benjamin\u2019s acclaimed Dream of the Song<\/em><\/strong> with the London Symphony Orchestra and the G\u00fcrzenich Orchestra in Cologne ,and the title role in Vivaldi\u2019s Tamerlano<\/em><\/strong> with Orchestra Les Accents at Madrid\u2019s Auditorio Nacional de M\u00fasica and at M\u00fcpa Budapest. Following an invitation to the Leipzig Bach Festival, the countertenor joined Lang Lang, Daniel Hope, and the Gewandhausorchester Leipzig in a major open-air gala honouring J.S. Bach. He returned to Canada to perform Handel\u2019s Messiah<\/em><\/strong> at Toronto\u2019s Koerner Hall and sang George Benjamin\u2019s Written on Skin<\/em><\/strong> in concert with the Orchestre National de Lille. Shahbazi has appeared in recital under the auspices of Oper Frankfurt with Malcolm Martineau and Paris\u2019 Sainte-Chapelle Opera Festival with Jeff Cohen, as well as with pianist Sophia Mu\u00f1oz presenting Warsaw Sessions<\/em><\/strong>, an innovative recital concept exploring connections across musical styles, periods, and cultural traditions, including a performance at Bayer Kultur in Leverkusen.<\/strong><\/p>\n

Hamilton-born Cameron Shahbazi is an alumnus of the University of Toronto and the Conservatorium van Amsterdam and is a grateful recipient of grants from the Jacqueline Desmarais Foundation and the Staetshuys Fonds. He has received prestigious international honors including the Dame Kiri Te Kanawa Foundation Award (2019), the Royal Opera House Covent Garden Prize at the International Belvedere Competition (2018), Second Prize at the Innsbruck Cesti Competition (2018), top prizes at the Op\u00e9ra Avignon Jeunes Espoirs Competition (2017), the Walter Prsytawski Prize (2021), and the Sylva Gelber Award (2021). He was also a finalist at the 2019 Veronica Dunne International Singing Competition.<\/p>\n

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\u00a9 CSAM GmbH, August 2026<\/p>\n

\u00a0<\/strong><\/p>\n

 <\/p>\n

\u00a0<\/strong><\/p>","protected":false},"excerpt":{"rendered":"

Rising countertenor Cameron Shahbazi, praised for his \u201cfull, voluminous\u201d voice and \u201cpersonal and beautiful\u201d timbre (De Trouw), is celebrated for his acclaimed interpretations of both baroque and contemporary music. In 2023, he was awarded the prestigious Opus Klassik Award in the \u2018Innovative Concert of the Year\u2019 category for his brainchild entitled \u201cWoman.Life.Freedom.\u201d, a benefit concert at Oper Frankfurt produced in support of human rights in Iran.<\/p>\n","protected":false},"author":4,"featured_media":10691,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[57],"tags":[],"class_list":["post-1845","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-countertenor-artist"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1845","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=1845"}],"version-history":[{"count":27,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1845\/revisions"}],"predecessor-version":[{"id":13205,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1845\/revisions\/13205"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/10691"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=1845"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=1845"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=1845"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}