Amin Ahangaran, praised as a \u201cfull-bodied and firm bass\u201d with a \u201cbeautiful nocturnal colour\u201d (Opera Libera) and \u201cone of the most charming voices of his generation\u201d (OPERA Charm Magazine), is an alumnus of both the Accademia del Teatro del Maggio Musicale in Florence and the Zurich Opera\u2019s International Opera Studio (IOS). Ahangaran has been a member of the ensemble at Op\u00e9ra de Paris since 2024\/25, a tenure he continues through the 2026\/27 season.<\/p>\n
The 2026\/27 season holds exciting roles for Amin Ahangaran at the Op\u00e9ra de Paris, where he appears as Fiorello in Rossini\u2019s Il barbiere di Siviglia<\/em><\/strong>, Pope and Gardien in Shostakovich\u2019s Lady Macbeth of Mtsensk<\/em><\/strong>, and Gregorio in Gounod\u2019s Rom\u00e9o et Juliette<\/em><\/strong>.<\/p>\n In recent seasons in Paris, Ahangaran has appeared in a wide range of roles, notably as Zaretsky in Ralph Fiennes\u2019 new production of Eugene Onegin<\/em><\/strong> under Semyon Bychkov and as Parsi Rustomji in Philip Glass\u2019 Satyagraha<\/em> <\/strong>staged by Bobbi Jene Smith and Or Schraiber, conducted by Ingo Metzmacher. Further roles include Angelotti (Tosca<\/em><\/strong>), Dottore in (La traviata<\/em><\/strong>), Wagner (Faust<\/em><\/strong>), Conte Ceprano (Rigoletto<\/em><\/strong>), Un Berger and Le M\u00e9decin (Pell\u00e9as et M\u00e9lisande<\/em><\/strong>), and Un d\u00e9put\u00e9 flamand (Don Carlos<\/em><\/strong>).<\/p>\n Further recent highlights include appearances with Opera Zurich as Brander in Berlioz\u2019 La damnation de Faust<\/em><\/strong> in concert under the baton of Yves Abel, as well as Rabonnier in La rondine<\/em><\/strong>, Medico in Macbeth<\/em><\/strong>, Theseus in A Midsummer Night\u2019s Dream<\/em><\/strong>, Mandarin in Turandot<\/em><\/strong>, and Dumas in Andrea Ch\u00e9nier<\/em><\/strong>. In Schaffhausen he appeared as Don Basilio in Il barbiere di Siviglia<\/em><\/strong> .<\/p>\n He has appeared at the Salzburg Festival\u2019s Young Singers Project in\u00a0a new production of Prokofiev\u2019s The Gambler<\/em><\/strong>, and has collaborated with conductors such as Riccardo Frizza, Gianandrea Noseda, Daniele Gatti, and Manfred Honeck in productions including\u00a0Rigoletto<\/em><\/strong> (Usciere), Siberia <\/em><\/strong>(L’ispettore),\u00a0Ariadne auf Naxos<\/em><\/strong> (Lakai),\u00a0Jakob Lenz<\/em><\/strong>\u00a0(Basso) and\u00a0La traviata<\/em><\/strong> (un Commissionario).<\/p>\n Amin Ahangaran\u2019s artistic training began in Tehran in 2016 and continued in Austria, where he debuted as Sarastro (The Magic Flute<\/em><\/strong>) and performed regularly as a soloist in the Graz region. He is a laureate of scholarships from AIMS and Academia Belcanto, participating in several prestigious masterclasses. In 2022, Ahangaran was the recipient of competition prizes at CLIP Portofino, Riccardo Zandonai, and Voci Verdiane.<\/p>\n \u00a9 CSAM, August 2026<\/p>\n \u00a0<\/strong><\/p>\n \u00a0<\/strong><\/p>\n \u00a0<\/strong><\/p>","protected":false},"excerpt":{"rendered":" Amin Ahangaran, praised as a \u201cfull-bodied and firm bass\u201d with a \u201cbeautiful nocturnal colour\u201d (Opera Libera) and \u201cone of the most charming voices of his generation\u201d (OPERA Charm Magazine), is an alumnus of both the Accademia del Teatro del Maggio Musicale in Florence and the Zurich Opera\u2019s International Opera Studio (IOS). Ahangaran has been a member of the ensemble at Op\u00e9ra de Paris since 2024\/25, a tenure he continues through the 2026\/27 season.<\/p>\n The 2026\/27 season holds exciting roles for Amin Ahangaran at the Op\u00e9ra de Paris, where he appears as Fiorello in Rossini\u2019s Il barbiere di Siviglia, Pope and Gardien in Shostakovich\u2019s Lady Macbeth of Mtsensk, and Gregorio in Gounod\u2019s Rom\u00e9o et Juliette.<\/p>\n","protected":false},"author":4,"featured_media":2188,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-2185","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bass"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/2185","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=2185"}],"version-history":[{"count":14,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/2185\/revisions"}],"predecessor-version":[{"id":12631,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/2185\/revisions\/12631"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/2188"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=2185"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=2185"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=2185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}