Rising lyric tenor Jonah Hoskins, a recent graduate of the Metropolitan Opera\u2019s prestigious Lindemann Young Artist Development Program, is one of the most promising young voices in opera. A Grand Finals winner of the 2020 Met Competition, Hoskins has continued to triumph on the competition scene: he was awarded with the second prize at Placido Domingo\u2019s Operalia Competition, was the recipient of the Extraordinary Artistic Promise Award at the Lotte Lenya Competition, and placed first in the National Opera Association Competition. Hoskins joined the ensemble of the Hamburg State Opera in 2025\/26, a tenure he continues in the 2026\/27 season.<\/p>\n
The 2026\/27 season is marked by several major debuts for Jonah Hoskins, including the world premiere of Missy Mazzoli\u2019s Lincoln in the Bardo<\/em><\/strong>, commissioned by the Metropolitan Opera, in which he creates the role of Bevins under Yannick N\u00e9zet-S\u00e9guin. He also makes his debut with The Philadelphia Orchestra as the tenor soloist in Orff\u2019s Carmina Burana<\/em><\/strong>, once again under N\u00e9zet-S\u00e9guin\u2019s baton. Further season highlights include his return to the Staatsoper Unter den Linden Berlin as Belmonte in Die Entf\u00fchrung aus dem Serail<\/em><\/strong>, performances in Pa\u00ebr\u2019s Leonore<\/em><\/strong> at the Semperoper Dresden, his debut at the Festival de M\u00fasica de Ma\u00f3 in Menorca in L\u2019elisir d\u2019amore<\/em><\/strong>, and a return to the Santa Fe Opera as Count Almaviva in Il barbiere di Siviglia<\/em><\/strong>. At the Hamburg State Opera, he appears as Ruodi (Guillaume Tell<\/em><\/strong>), Beppe (Pagliacci<\/em><\/strong>) and reprises Almaviva (Il barbiere di Siviglia<\/em><\/strong>).<\/p>\n Recent seasons brought a series of important operatic debuts and role portrayals for Jonah Hoskins. At the Metropolitan Opera, he made his role debut as Nemorino in L\u2019elisir d\u2019amore<\/em><\/strong>, following his company debut as the Dean of Faculty in Massenet\u2019s Cendrillon<\/em><\/strong>. He returned to the Staatsoper Unter den Linden Berlin for his role debut as Fenton in Verdi\u2019s Falstaff<\/em><\/strong>, having previously made his house debut there as Arbace in Mozart\u2019s Idomeneo<\/em><\/strong>. He also made his house debut at the Deutsche Oper Berlin as Lindoro in Rolando Villaz\u00f3n\u2019s new production of L\u2019italiana in Algeri<\/em><\/strong>, his company and role debut at the Royal Opera House as Tonio in La fille du r\u00e9giment<\/em><\/strong>, and his first appearances at Op\u00e9ra de Toulon as Ernesto in Don Pasquale<\/em><\/strong>.<\/p>\n Further highlights include his Bayerische Staatsoper debut as Don Ramiro (La cenerentola<\/em>)<\/strong>, his role debut as Arnold in (Guillaume Tell<\/em><\/strong>) at Theater St. Gallen, and his first performances as Nadir (Les p\u00eacheurs de perles<\/em><\/strong>) with the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es and Op\u00e9ra National de Bordeaux. Having made his European debut at Semperoper Dresden as Chevalier Belfiore in Rossini\u2019s Il viaggio a Reims<\/em><\/strong>, he returned as Almaviva (Il barbiere di Siviglia<\/em><\/strong>), a role he first sang at Pensacola Opera and has also performed at the Glyndebourne Festival. He has appeared as Ernesto (Don Pasquale<\/em><\/strong>) at the Mondavi Center under the auspices of Festival Napa Valley, and as Nemorino in (L\u2019elisir d\u2019amore<\/em><\/strong>) with San Francisco Opera, Santa Fe Opera, Florida Grand Opera, and Manitoba Opera. His additional roles at Santa Fe Opera include Don Curzio (Le nozze di Figaro<\/em><\/strong>), Flute (A Midsummer Night\u2019s Dream<\/em><\/strong>), and the Sailor in Tristan and Isolde<\/em><\/strong>.<\/p>\n At the Hamburg State Opera, Hoskins most recently has appeared in a wide range of roles and most recently as Count Almaviva in Tatjana G\u00fcrbaca\u2019s new production of Rossini\u2019s Il barbiere di Siviglia<\/em><\/strong> and in his debut as Ferrando in Mozart\u2019s Cos\u00ec fan tutte<\/em><\/strong>.<\/p>\n On the concert stage, Hoskins performed Mozart\u2019s Requiem<\/em><\/strong> with Camerata Salzburg, starred in the annual New Year\u2019s Concert of the S\u00e4chsische Staatskapelle Dresden and ZDF under Karina Canellakis, gave a solo recital with pianist William Woodard for DC Vocal Arts at the Kennedy Center, and was the tenor soloist in Orff\u2019s Carmina Burana<\/em><\/strong> at Theater St. Gallen.<\/p>\n Born in 1996 in Saratoga Springs, Utah, Hoskins earned a Bachelor of Arts in Music from Brigham Young University. He subsequently was a participant in the distinguished Apprentice Artist programs of the Santa Fe Opera and Des Moines Metro Opera, as well as Houston Grand Opera\u2019s Young Artist Vocal Academy. Hoskins made his operatic debut as the First Spirit in\u00a0The Magic Flute<\/em> <\/strong>followed by Tamino\u00a0(The Magic Flute<\/em><\/strong>)<\/em>, Fenton\u00a0(Falstaff<\/em><\/strong>)<\/em>, Rinuccio (Gianni<\/em><\/strong> Schicchi<\/strong>)<\/em> and Septimius (Theodora<\/em><\/strong>)<\/em>.<\/p>\n <\/p>\n \u00a9 CSAM GmbH, August 2026<\/p>\n <\/p>\n \u00a0<\/strong><\/p>\n <\/p>\n \u00a0<\/strong><\/p>\n \u00a0<\/strong><\/p>","protected":false},"excerpt":{"rendered":" Rising lyric tenor Jonah Hoskins, a recent graduate of the Metropolitan Opera\u2019s prestigious Lindemann Young Artist Development Program, is one of the most promising young voices in opera. A Grand Finals winner of the 2020 Met Competition, Hoskins has continued to triumph on the competition scene: he was awarded with the second prize at Placido Domingo\u2019s Operalia Competition, was the recipient of the Extraordinary Artistic Promise Award at the Lotte Lenya Competition, and placed first in the National Opera Association Competition. Hoskins joined the ensemble of the Hamburg State Opera in 2025\/26, a tenure he continues in the 2026\/27 season.<\/p>\n","protected":false},"author":4,"featured_media":959,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-954","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tenor"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/954","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=954"}],"version-history":[{"count":26,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/954\/revisions"}],"predecessor-version":[{"id":13204,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/954\/revisions\/13204"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/959"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}