"He's a future world star"

- Danish National Radio, P2, Hella Joof
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"Valdemar Villadsen, a young tenor from Denmark, already has quite some experience in the haute-contre repertoire. You can certainly hear this in his performance of Glaucus. His voice never shows the slightest sign of fatigue and reaches the high notes with exquisite effortlessness."

- Opernwelt
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"In the leading role as the Evangelist, Valdemar Villadsen was simply outstanding – effortless (also in the melismatic Tenor arias), delicate and with cantabile richness."

- Der Westen
"A very skilful Danish tenor"

- Frankfurter Allgemeine, Jürgen Kesting
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"Valdemar Villadsen has an emotionally rich sound, sustained notes, pure, warm and bright, that brings heaven to earth and stops time for a few moments. Hopefully the record companies will pick up on this man."

- Caroline Leiden, blog

SUCCESS IN FRENCH
BAROQUE OPERA

“Stunning”, “Gorgeously sounding” and “very skilful” were just some of the superlatives Valdemar received from the critics after his leading role as the sea god Glaucus in Jean-Marie Leclair’s opera from 1746 “Scylla et Glaucus” at the Kiel Opera House (co-production with Centre de Musique Baroque de Versailles). The leading opera magazine Opernwelt wrote:

“Valdemar Villadsen, a young tenor from Denmark, already has quite some experience in the haute-contre repertoire. You can certainly hear this in his performance of Glaucus. His voice never shows the slightest sign of fatigue and reaches the high notes with exquisite effortlessness.”

The production itself, which is directed by the world famous choreographer Lucinda Childs and conducted by the acclaimed Václav Luks, was also very well recieved.

It is the first time that a German operahouse takes on this beautiful, yet relatively unknown French baroque opera. The leading part of Glaucus was originally written for the legendary French tenor/haute-contre Pierre de Jélyotte, but since “Scylla et Glaucus” is rarely performed, Valdemar is now one out of a handful of tenors ever to have sung this exiting and demanding part.

Calendar 2017

January 7

Monteverdi:

L’Orfeo

l’Arpeggiata

Conductor: Christina Pluhar

Nicolaisaal, Potsdam (Musikfestspiele Sanssouci)

Germany

 

 

January 10

Monteverdi:

L’Orfeo

l’Arpeggiata

Conductor: Christina Pluhar

De Bijloke, Gent

Belgium

 

 

May 6, 9, 17, 19, 27

Kiel Opera House

Leclair:

Scylla et Glaucus

Conductor: Václav Luks

Director: Lucinda Childs

Germany

 

 

June 1, 10, 15, 18

Kiel Opera House

Leclair:

Scylla et Glaucus

Conductor: Václav Luks

Director: Lucinda Childs

Germany

 

 

June 26

Arctic Arts Festival

Carmina Burana

Arctic Philharmonic

Conductor: Ingar Bergby

Harstad

Norway

 

 

October 15

Kreuzeskirche, Essen

Bach:

Mass in B Minor

Essener Barockorchester

Conductor: Andy von Oppenkowski

Germany

 

 

October 22

Grieg Hall, Bergen

Orff:

Carmina Burana

Bergen Philharmonic Youth Orchestra

Conductor: Kjell Seim

Norway

 

 

October 27

Concerto Copenhagen in Rome

Music by Giuseppe Sarti

Concerto Copenhagen

Conductor: Lars Ulrik Mortensen

Accademia di Danimarca, Rome

Italy

 

 

December 7

Brøndby Strand Kirke

Bach:

Christmas Oratorio (Evangelist)

Camerata Øresund

Conductor: Peter Spissky

Denmark

 

 

December 8

Viborg Cathedral

Bach:

Christmas Oratorio (Evangelist)

Camerata Øresund

Conductor: Peter Spissky

Denmark

 

 

December 9

The Queens Hall, Copenhagen (Diamanten)

Bach:

Christmas Oratorio (Evangelist)

Camerata Øresund

Conductor: Peter Spissky

Denmark

 

 

December 10

Hans Tausens Kirke

Bach:

Christmas Oratorio (Evangelist)

Camerata Øresund

Conductor: Peter Spissky

Denmark

 

 

 

For more information, see Performances

Valdemar's blog

Stage presence - As a kid I wanted to be an actor. I was a nerdy kid – a Shakespeare fan. When I was twelve I performed Hamlet on my paper theatre in its original length: five hours (shortening would have been, of course, cheating!). Without my mom’s homemade cookies and several litres of tea, it would have been a traumatising experience for the incarcerated and extremely patient audience. Later, when I graduated from high school I took up a career as an actor, playing leading roles at a children’s theatre. Everything went well, but somehow I felt something was missing. The music. … Continued