He will also revive Ted Huffman’s production of Monteverdi’s L’incoronazione di Poppea singing the role of Nerone under the direction of Leonardo Garcia Alarcon (Opéra Royal de Versailles) before interpretating the title role in Handel’s Serse staged by Clarac & Deloeuil and conducted by David Bates (Opéra de Rouen Normandie). Jake will open the 2022/23 season singing the role of Erissena in Leonardo Vinci’s Alessandro nell’Indie in a production staged by Max Emanuel Cencic (Bayreuth Baroque Opera Festival).
Most recently he performed Olga Neuwirth’s Hommage à Klaus Nomi along with the Ensemble intercontemporain (Philharmonie in Paris and Cité de la Musique in Strasbourg). On the concert platform, Jake has displayed a similarly remarkable versatility, from Ernesto in Vinci’s Gismondo, re di Polonia (Vienna, Moscow, Dortmund and Bayreuth), Contre-ténors with Il Pomo d’Oro (Sablé and Nice) and From Soul to Soul with the Pera Ensemble (Heidelberg and Cologne), to Pergolesi’s Stabat Mater under Ivor Bolton, or the premieres of Hilda Paredes’ Canciones Lunáticas and Sciarrino’s Cosa Resta with the Arditti Quartet in numerous other venues on both sides of the Atlantic. Romantic and modern roles include Hänsel in Humperdinck’s Hänsel und Gretel (Wiener Kammeroper), Voice of Apollo in Death in Venice (Stuttgart and Opéra National du Rhin), Prince Gogo in Ligeti’s Le grand macabre (Essen), and SUM by Max Richter and Wayne McGregor, premiered at the Royal Opera House’s Linbury Theatre in 2012. Jake most recently sung the title-role in Robert Carsen’s production of Handel’s Rinaldo for Glyndebourne, as well as the title-role in Corselli’s Achille in Sciro conducted by Ivor Bolton and directed by Mariame Clément at the Teatro Real Madrid. He sung David in Handel´s Saul, a role debut in a new production directed by Claus Guth and conducted by Laurence Cummings (Theater an der Wien). His extended vocal range has also seen him encompass such roles as Amore (Theater an der Wien and Zürich Opera) and Nerone in Monteverdi’s L’incoronazione di Poppea (Pinchgut Opera Sydney and Festival d’Aix-en-Provence), as well as Nerone in Agrippina (Theater an der Wien and Göttingen Handel Festival).
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His “… show-stealing riches of vocal colour and stage presence” (Daily Telegraph) have already brought him widespread critical and public acclaim, not only in such baroque virtuoso warhorses as Handel’s Rinaldo (title-role at Bolshoi Theatre, Moscow), Serse (title-role at Longborough Festival Opera), Riccardo Primo (title-role at the London Handel Festival), Sesto in Giulio Cesare (Teatro Colón and Theater an der Wien), but also in such rarities as Emone in Traetta’s Antigone (Wiener Kammeroper), Euripilo/La Discordia/Polluce in Cavalli’s Elena (Festival d’Aix en Provence, Lille and Lisbon), and Apollo in Legrenzi’s La Divisione del Mondo with Christophe Rousset and Les Talens Lyriques (Strasbourg, Mulhouse, Colmar, Nancy, Versailles and Köln).
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Already a professional singer at the age of eleven, when he sang Yniold in Pelléas et Mélisande for Glyndebourne Festival Opera, and in several productions at ENO, Jake Arditti has had a meteoric rise to fame since his prize-winning performance at the 2012 Innsbruck Baroque Singing Competition.
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