Quirijn de Lang

  • ID: TA870559
  • Name : Quirijn de Lang
  • Gender : Male



    Dutch baritone Quirijn de Lang studied at the Curtis Institute, Philadelphia and the Scuola di Musica, Milano. Since graduating he has enjoyed a career throughout Europe, and is recognised as an exceptional singing actor in a wide and varied repertoire.

    His recent and future engagements include Danilo Die lustige Witwe and Lieutenant Audebert Silent Night for Opera North; the title role of Hamlet (Ambroise Thomas) for Opera2Day, touring throughout the Netherlands, and Fred Graham/Petruchio in Opera North’s acclaimed production of Kiss Me, Kate at the London Coliseum, in Edinburgh and at the Ravenna Festival, Italy.

    The role of Pantalon L'Amour des trois oranges marked Quirijn’s debuts for the Deutsche Oper, Berlin; Dutch National Opera and the Aalto-Musiktheater Essen; he sang the role of Le Surintendant des Plaisirs Cendrillon for La Monnaie, Brussels; he appeared as Ponchel in the European Premiere of Silent Night at the Wexford Festival and has appeared at the Vlaamse Opera as Harlekin Ariadne auf Naxos; Marco Gianni Schicchi and in the title role of Achilleus by Wim Henderickx; for the Reisopera, Netherlands he made his professional debut as Papageno Die Zauberflöte; returning as Malatesta Don Pasquale and as Christ in a staging of the St. John Passion.

    In the United Kingdom, he has appeared regularly with Opera North, as the Count Le nozze di FigaroGuglielmo Così fan tutteDemetrius A Midsummer Night’s DreamFlamenco Singer La vida breveSchaunard La BohèmeDandini La Cenerentola; The Clockand the Cat L'Enfant et les sortilèges and most recently as Sam Trouble in Tahiti - a production which will be broadcast on BBC Television to commemorate the Bernstein Centenary. 

    Elsewhere in the UK, he has appeared at Welsh National Opera as Fred Graham/Petruchio Kiss Me, Kate;  at Scottish Opera as Count Robinson Il matrimonio segreto; as HarlekinDandini and D’Arlange Vert Vert (Offenbach) for Garsington Opera; and at Grange Park Opera as Schaunard; the Count CapriccioClavaroche Fortunio and as Yeletsky in The Queen of Spades.

    Biography not for publication, for an up to date version please contact Oliver Clarke.



    "Quirijn de Lang was such an expressive and intensely dramatic performer. This was not one of those performances which prized beauty of tone above all else, though de Lang sang with a nice flexibility of line and suppleness, but he seemed to prize vivid intensity above all things and this was a Hamlet who we could hear, really suffered. His performance kept you involved from the moment he was on stage to the very end." Robert Hugill - Opera Now

    "De ideale Hamlet is bariton Quirijn de Lang, die heel operaminnend Nederland verrukte toen hij in 1999 op tweeëntwintigjarige leeftijd bij de Reisopera al een Papageno neerzette die een gerijpt talent deed vermoeden. Hij twijfelt, is kordaat, besluit toch weer niet, is wanhopig en dat alles op een manier die natuurlijk is en tegelijk klinkt als een klok. Zijn Frans is ‘impeccable’, hetgeen zou doen vermoeden dat Frankrijk zijn tweede huis is, terwijl alle operaliefhebbers weten dat hij voornamelijk in Engeland zingt."  BrabantCultureel

    "Gute Voraussetzungen für einen hoffnungsvollen jungen Bariton wie Quirijn de Lang, der die Titelrolle mit dem Balsam seiner Stimme krönt und die innere Zerrissenheit des jungen Prinzen glaubhaft darstellen kann." O-Ton Kulturmagazin

    "Baritone Quirijn de Lang employed his dark baritone and considerable acting ability to great effect as the office-bound executive Sam, a believer in the survival of the fittest in a ruthless business world. He is a really flexible performer, well-suited to comic parts as well as serious ones." Bachtrack

    "Quirijn de Lang and Wallis Giunta sing and play the couple to near perfection.” SeenAndHeardInternational

    "Quirijn de Lang emerged as the absolute ‘star’ of the evening. He sang well, and acted both his roles, whether as the vain and sardonic Fred Graham or the fiercely effective Petruchio. In the spoken scenes, lifted more or less straight from Shakespeare, his performance as the Shrew-Tamer was on a par with most, and better than quite a few of the many ‘straight’ Shakespearean actors I have seen attempting the role.” SeenAndHeardInternational

    "Mr Quirijn de Lang sings like a dream. His articulation is first class and what Cole Porter wrote in lyrics which are showstoppers, are made wonderfully clear and so you listen and you applaud and that applause is well-deserved.Birmingham Post

    "Opera voices seem to fit these older musicals, and both de Lang and Bern make it sound like no other style of singers should sing Cole Porter’s songs.” Reviews Hub

    "Truly moving is the scene in which Quirijn de Lang, as Ponchel, his ensign, cuts his hair and tells openly of his desire to leave the trenches in order to go and have a cup of coffee with his mother, like before the war. What deep friendship connects the two men, becomes clear when the dying Ponchel tells the lieutenant that he did leave the trenches and brings him news of his wife and newborn son.” Thomas Molke - ONLINE MUSIK MAGAZIN

    "the suave and thoroughly despicable count, brilliantly played by Quirijn de Lang.” THE REVIEWS HUB

     “Quirijn de Lang in particular sang with firm well articulated tone and crystal clear diction as well as portraying the Count’s arrogance in his jodhpurs and jacket.” SeenAndHeardInternational

     "Quirijn de Lang’s performance as the Count seems to be led by his moustache – a waxed, handlebar appendage that could only belong to a cad – but his wiry delivery and stiff deportment speak volumes about the character’s discomfort.” THE GUARDIAN

     ”De Lang has a magnetic presence and the mahogany-toned voice is focused and used to compelling effect.” OPERA BRITTANIA

     "Almaviva is not the main character, but he is central to the plot and the reaction of all the others towards him, so it's important to establish the precise tone, and between them, Jo Davies and Quirijn de Lang get it absolutely right.” OPERA JOURNAL