In 2022, Jan Wouters will sing Tolomeo in Handel’s Guilio Cesare with così facciamo. In 2018, he created the parts of Herr C and Evengelizzatore in the world premiere of liminal space during the contemporary music festival Münchener Biennale and made his debut with Opera Ballet Vlaanderen in 2019.
In 2017, the countertenor performed Tolomeo in Handel’s Giulio Cesare in Munich’s Reaktorhalle as well as the main character Refugee in Dove’s Flight at Munich’s Prinzregententheater. Jan Wouters worked with producers including Balázs Kovalik and Olivier Tambosi.
As a concert soloist, Jan Wouters’ concert repertoire includes Bach’s cantatas, Christmas-Oratorio, St. John Passion, St. Matthew Passion, Berlioz’ Les Nuits d’Été, Charpentier’s Te Deum, Elgar’s Sea Pictures, Handel’s Messiah and Ode for the Birthday of Queen Anna, Haydn’s Nelson Mass, Mitchell’s Cavell Mass, Mozart’s Requiem, Pergolesi’s Stabat Mater, Purcell’s Come Yes ons of art, Rossini’s Petite Messe Solennelle, Tuma’s Stabat Mater, Vivaldi’s Gloria and Stabat Mater. On 17th January 2021, a concert with Vivaldi’s Il Mondo del ‘Prete Rosso’ will be streamed live.
The Belgian alto is also a dedicated recitalist, singing Elgar’s Sea Pictures, Finzi’s lied cyclus Let us garlands bring as well as selected lieder by Fauré, Hahn, Schubert, Strauss, Vandewege, Wolf, Strauss. Jan Wouters performed with Ensemble Octopus, Münchner Rundfunkorchester, philharmonie zuidnederland under the baton of conductors including Hartmut Haenchen, Jan Müller-Wieland, Ulf Schirmer.
This biography is for information only and should not be reproduced. © Artistainternational, December 2020.
Three questions to Jan Wouters:
A composer: Benjamin Britten, also because Oberon is my dream role.
What was your calling to become a singer? I started playing the oboe when I was six, but I always sang a little. I sang as a baritone in music high school for two years, simply because I loved to sing opera, oratorio and lied. My teacher in Belgium discovered my alto voice when I was 16 and I then decided to change my vocal ‘fach’. From that moment (because singing as a countertenor went so well and easily) I wanted to be a good (or the best) opera singer. And there are two other composers, besides Britten, who make me love being a countertenor: Bach and Handel. Giving emotions to the audience. That’s the best job.
To be a singer – in three words: work – joy – applause.