Evan Rogister

Principal Conductor, Washington National Opera
Principal Conductor, Kennedy Center Opera House Orchestra

“…the score was marshaled with skill, individuality and tremendous energy by American maestro. Rogister offered a dramatic and fluent reading that found fresh beauty in each musical transition but never wallowed in transient orchestral color. The Gothenburg Opera Orchestra sounded gruff and earthy as often as it did godly and serene. I have never heard it tighter or richer.OPERA NEWS


Evan Rogister is the newly appointed Principal Conductor of Washington National Opera and the Kennedy Center Opera House Orchestra. A dual citizen of the United States and Germany, Rogister enjoys meaningful artistic partnerships on both sides of the Atlantic.

From 2018 to 2021, Rogister conducts Göteborg Opera’s first-ever complete cycle of Wagner’s Der Ring des Nibelungen. Rogister collaborates with director Stephen Langridge on Die Walküre in 2019 and the entire cycle will culminate in 2021, the 400th Anniversary of the city of Göteborg with Götterdämmerung. For his first productions as Principal Conductor of Washington National Opera, Rogister leads Don Giovanni and Porgy and Bess.

Evan Rogister’s 2019/20 season includes a documentary recording for Swedish Television with the Swedish Radio Symphony Orchestra dedicated to Jenny Lind, in preparation for her 200th anniversary in 2020, and a concert with the Swedish Radio Symphony Orchestra and soloists Elin Rombo and Annie Ternström as part of the Baltic Sea Festival. Rogister also collaborates with the Bergen Philharmonic Orchestra for an Opera Gala, featuring soloists Prize winners from the Queen Sonja International Music Competition 2019.

In the 2017/18 season, Rogister debuted at the Metropolitan Opera—conducting Mozart’s Magic Flute; Rogister returns to the MET in the 2021/22 season. He also will make his Bolshoi Theatre debut in the winter of 2022, leading a new production of Wagner’s Lohengrin.

Recent symphonic projects include concerts with the Royal Stockholm Philharmonic Orchestra, the National Symphony Orchestra (Washington D.C.), the Gothenburg Symphony Orchestra, l’Orchestre Philharmonique du Luxembourg, l’Orchestre National du Capitole de Toulouse, the Spoleto Festival Orchestra, the Malmö Symphony Orchestra, the Bochum Symphoniker, the Milwaukee Symphony Orchestra and the Atlanta Symphony Orchestra.


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    Mohammed Fairouz - Follow, Poet

    Label: Deutsche Grammophon

    Release Date: 26 Jan 15

    featuring: Kate Lindsey · Evan Rogister · Ensemble LPR · Paul Muldoon

    Track List:

    1. John F. Kennedy Speech 0:22

    Mohammed Fairouz    Audenesque
    2. I 6:21
    3. II 2:55
    4. III 4:04
    5. IV 5:05

    Seamus Heaney (1939 – )
    6. Audenesque 3:46

    7. John F. Kennedy Speech 0:51

    Mohammed Fairouz    Sadat
    8. July 23rd, 1952 5:57
    9. Jehan 4:10
    10. The Death Of Nasser /  The Leader 4:52
    11. Jerusalem 3:41
    12. The Day The Leader Was Killed 4:36

    W.H. Auden
    13. In Memory Of W.B. Yeats 2:29
    14. In Memory Of W.B. Yeats II 0:56
    15. In Memory Of W.B. Yeats III 1:23

    Total Playing Time 51:28

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    01 Dec 19 "Die Walküre" Gothenburg Opera
    Gothenburg, Sweden

    “Deserved cheers for @EvanRogister whose conducting of @goteborgsoperan’s Ring gets even better with Die Walküre. Bold enough to play with the music’s inbuilt drama and even bolder in constantly reacting to its words. Chamber music with shades of Schubert, Debussy etc.”
    Andrew Mellor, OPERA NEWS

    The real magician is therefore not Wotan but rather Evan Rogister and the Gothenburg Opera Orchestra. In their responsive reading, the downfall comes creeping like a monster in the fog – centimeter by centimeter, degree by degree. At the same time; it’s their dedicated seriousness which makes rainbows of blinding hope flourish in Wagner’s incomparable music.”
    Sofia Nyblom, Svenska Dagbladet

    “Evan Rogister and the Gothenburg Opera Orchestra triumph. The playing wonderfully encompasses intimate detail work, verve and splendorous sound, while still finely balancing the voices.”
    Lennart Bromander, Aftonbladet

    “Evan Rogister accentuates finely-tuned shades as he leads Gothenburg Opera’s orchestra through Die Walküre’s complex and extensive score. He does it phenomenally well and makes the orchestra play with an unusual luster.”
    Magnus Haglund, Goteborgs-Posten

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    31 Dec 18 "Success at the Capitole" Orchestre National du Capitole de Toulouse
    Toulouse, France

    At the head of l’Orchestre National du Capitole de Toulouse — playing as supplely as precisely — Evan Rogister combines energy with a sense of rhythm that never falters.
    A-M Chouchan, La Dépêche, 03 Jan 2019

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    17 Nov 18 "Das Rheingold" Gothenburg Opera
    Gothenburg, Sweden

    “…the score was marshaled with skill, individuality and tremendous energy by American maestro Evan Rogister. Rogister offered a dramatic and fluent reading that found fresh beauty in each musical transition but never wallowed in transient orchestral color. The Gothenburg Opera Orchestra sounded gruff and earthy as often as it did godly and serene. I have never heard it tighter or richer, which bodes well for Washington National Opera, where Rogister has just been appointed music director. The detail Rogister drew from his singers was also notable. Gothenburg Opera does not have a huge auditorium but it still felt like a luxury to hear the Rhinemaidens’ exacting placing of consonants and to hear Fricka and Freia given the space to blossom as musical characters.”

     Andrew Mellor, Opera News Magazine, 21 Nov 2018

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    29 Apr 18 "Eugene Onegin" Royal Swedish Opera
    Stockholm, Sweden

    “Musically [the Royal Opera’s new production of Eugene Onegin] is masterful…the Royal Hovkapellet impresses with unusually rich sound under Evan Rogister’s lively, inspired leadership.”
    Svenska Dagbladet, Bo Löfvendahl

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    12 Sep 17 "Aida" Washington National Opera
    Washington, D.C., USA

    “Conductor Evan Rogister sensitively conducts, eliciting tones of insistent yearning that, suddenly, thrill with dramatic crescendos. Rogister evoked the more militaristic pomp of the music with the more romantic style of Verdi’s music. The oft-performed succession of melodies in the Triumphal scene (“O Re, pei sacri Numi! Gloria all Egitto”) were particularly resonant.”
    David Friscic, DC Metro Theater Arts

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    31 May 17 Vivaldi, Mozart, Puccini, Bernstein Spoleto Festival
    Charleston, South Carolina, USA

    “German conductor Evan Rogister led the evening’s orchestral works and displayed a command of the ensemble that was both subtle and expansive. His gestures range from the smallest hand movements to the full blown and dance-like that bring to visual life the aural imaginings of the music. Rogister used his entire body to bring forth persuasive interpretations of the music and its emotional content.”
    David Friddle, The Post and Courier

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    14 Mar 17 Verdi Ernani
    Théâtre du Capitole Toulouse, France

    “He understood the burning urgency of the score, pushing the excellent chorus and Orchestre National du Capitole forward with the savage rhythmic drive early Verdi demands, while not neglecting the more delicate moments of lyricism, for example the wonderfully played postlude of Carlo’s great aria “Oh, de’ verd’anni miei”

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    12 Nov 16 Mozart Le nozze di Figaro
    Malmö Opera
    “So there is genuine real life drama and not a routine opera because Evan Rogister’s musical direction is as spiritual as Stein’s direction; they follow each other.”
    “Så det är äkta levandelivet dramatik och inte pliktopera eftersom Evan Rogisters musikaliska ledning är lika spirituell som Steins regi, de följer varandra.”

    Per Feltzin, Swedish Radio 

    “Conductor Evan Rogister’s leadership is purely exemplary: very elegant sound with Mozartian luster and proper dynamics in the orchestra, swift but not overly intense tempos, and good sense of timing to the singers’ performances. Should you object to something, then maybe he should have turned on a little faster to dampen the crowd’s spontaneous applause.”
    “Dirigenten Evan Rogisters ledning är rent föredömlig: mycket fin klang med mozartsk lyster och korrekt dynamik i orkestern, snabbt men inte uppdrivet tempo och bra känsla för timing mot sångarnas prestationer. Ska man anmärka på något, så kanske han borde ha slagit på en aning snabbare för att dämpa publikens störande spontanapplåder.”

    Lars Erik Larsson, Skanska Dagbladet 

    In spite of his experience, this is the first time Peter Stein takes on [Le Nozze di Figaro], and at his side he has the young American conductor Evan Rogister, who fired up the stage and orchestra pit; both were bursting with life.”
    “Trots sin erfarenhet är det första gången Peter Stein tar sig an verket, och vid sin sida har han unge amerikanske dirigenten Evan Rogister som eldar på så svetten stänker: både scen och orkesterdike spritter av liv.”

    Bo Löfvendahl, Svenska Dagbladet

    “In the next breath he [Peter Stein] is heaping praise on his colleagues at the Malmö Opera, not least the conductor Evan Rogister, with whom he has had a perfect collaboration.”
    “I nästa andetag öser han lovord över sina medarbetare på Malmö opera, inte minst dirigenten Evan Rogister som han har haft ett perfekt samarbete med.”

    Cecilia Klintö, from Interview with Peter Stein in the Göteborgs Posten  

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    19 Sep 15 Bizet Carmen
    Washington National Opera

    ‘…incisively conducted by Evan Rogister, the venture crackled with energy from the top of the Prelude to Act I.  Rogister’s sensitive guidance [in Act 1] was matched by his unhurried, beautifully nuanced conducting of the Act III Prelude; he made sure that the accompaniment patterns in the strings emerged as eloquently as the flute solo.’
    Tim Smith, Opera News

    The other strength of this production is in the orchestra pit, where conductor Evan Rogister led the Washington National Opera Orchestra.  …hearing him in a familiar score, and music that thrives on rhythmic and dynamic nuance, was a revelation.  Rogister drew forth beautifully shaped phrases in the Entr’act to Act III, and in the overture, and was unafraid in the First Act to let the scene-setting listlessness of the music sound in fact sultry, lazy and listless. The orchestra can often be unsubtle, but not last night, and even a few horn misfires didn’t diminish the fine effect.
    Philip Kennicott 

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    06 May 15 Fairouz Follow, Poet
    Deutsche Grammophon

    ‘The players of Ensemble LPR perform with virtuosity and commitment throughout the song cycle and the ballet, under the clearly inspired leadership of Evan Rogister.’
    Joshua Rosenblum, Opera News 

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    18 Apr 15 Bartok/Schoenberg Bluebeard's Castle/Erwartung
    Gothenburg Opera

    ‘Sakligheten och stramheten gör att musiken kan tala direkt, och till precisionen i tolkningen bidrar inte minst det fabulösa orkesterspelet under Evan Rogisters ledning.’

    ‘Objectivity and rigor make music that speaks directly, and contributing to the accuracy of the interpretation was the fabulous orchestra under Evan Rogister’s leadership’

    Magnus Haglund, Gothenburg Post 

    ‘Det är ett skärande ljud som sällar sig till soundet från den vilt skriande orkestern, för kvällen ledd med all tänkbar energi och skärpa av dirigenten Evan Rogister.’

    ‘…the sound of the fiercely crying orchestra is conducted with all possible energy and sharpness by Evan Rogister.’

    Martin Nyström

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    27 Jul 13 Oscar
    Santa Fe Opera

    “The opera, a co-production with the Opera Company of Philadelphia,
    receives a worthy performance from Daniels and colleagues under the
    talented young conductor Evan Rogister, who scored twin successes last
    season at Lyric Opera.”
    Chicago Tribune

    “Evan Rogister conducted incisively, making the clichéd orchestration sound better than it was.”
    The Wall Street Journal 

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    09 Mar 13 Rigoletto
    Lyric Opera of Chicago

    The third impressive debut of the evening was conductor Evan Rogister. Unlike many opera batonsmiths, the young American started his career as a singer, which was manifest in his alert and sensitive accompaniment to the cast and impeccable balancing, conveying Verdian fire while drawing an array of hues and dynamic subtleties. Rogister will also lead the Lyric’s March-April performances of Previn’s A Streetcar Named Desire, and is clearly a young talent on the rise.
    Lawrence A. Johnson for Chicago Classical Review 

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    24 Oct 12 La Bohème
    Houston Grand Opera

    “Rogister conducts with flash and feeling, guiding a performance that is as persuasive in the tiniest grace notes of orchestration as in the sweeping surges of gorgeous melody.”
    Everett Evams, Houston Chronicle

    “Conductor Evan Rogister led the HGO Orchestra in an impressively lean rather than lush performance: the dramatic pace never slackened as Rogister took care not to linger too long at moments of passionate intensity; and the texture, although it accommodated rich, expressive swells of orchestral sound, was always transparent enough to reveal a wealth of musical detail. Rogister and the HGO Orchestra thus furnished non-traditional sound to complement this innovative staging of Puccini, and it suited the score, which teems with motives of youthful humor and impetuousness, foreboding and reminiscence.”
    Gregory Barnett for Opera News 

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    01 Aug 12 Opera News Vol. 77
    No. 3

    In the three years since he was featured in OPERA NEWS’s “Sound Bites,” Evan Rogister has become one of classical music’s most talked-about young conductors. When the North Carolina native spoke to OPERA NEWS in 2009, he had just finished his debut run at Seattle Opera, leading Bluebeard’s Castle and Erwartung, and was about to start a two-year stint as Kapellmeister (principal assistant conductor) at Deutsche Oper Berlin, during which he would lead Die Zauberflöte, La Bohème, Manon Lescaut, Rienzi, Hänsel und Gretel, La Traviata and Carmen. Rogister followed up his term at DOB with engagements there as a guest conductor for Otello and Don Giovanni in 2011–12 and his debut at the Royal Swedish Opera in Stockholm this past spring, leading Lohengrin. After building his resumé in Europe, Rogister is now scheduled to appear with more frequency in the U.S. This summer, he is at Santa Fe Opera, leading Szymanowski’s King Roger for his company debut; he will return to that company in 2013 to lead the world premiere of Theodore Morrison’s much-anticipated Oscar. In October 2012, Rogister opens the season at Houston Grand Opera — the company where he made his U.S. opera conducting debut, in 2006 — pacing John Caird’s staging of La Bohème. In February 2013, he arrives at Lyric Opera of Chicago for Rigoletto, to be followed by a March–April run leading the Lyric premiere of A Streetcar Named Desire, with Renée Fleming as Blanche.

    Rogister, who counts Patrick Summers, Alan Gilbert and Donald Runnicles among his professional mentors, speaks and listens with the unfailing discretion that all successful assistant conductors learn on the job. He is smart, hard-working, unaffectedly musical and blessed with natural leadership ability. Tall and striking, he faces an orchestra with the sangfroid of a man born wearing white tie and tails, but he acknowledges that his relative youth — he’s still in his early thirties — can present the occasional professional challenge: “All young conductors face the fact that for the first ten years of your career, you are way younger than almost everybody in the orchestra. And everybody knows it. And you have to deal with it. But I don’t waste time on wondering what they think about me and how young I am. My job is to stay focused on the score and work with them on what the composer wanted.”

    Rogister began his training as a classical musician — first as a trombone player, then as a baritone — at Indiana University, but he did not begin serious work on conducting until he was at Juilliard, studying for his master’s in voice. “Having studied singing, I understand breathing better. The lucky thing for me is that it not only helps singers, but it helps the way I conduct the orchestra. People who don’t think about the breathing that a phrase must have — orchestral or vocal — are missing out on something. You can hear when a string section breathes — the strings of the Vienna Phiharmonic, of the Dresden Staatskapelle, of the Deutsche Oper, the Met Orchestra. They play vocally. They breathe.”
    Opera’s Next Wave

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    14 Jan 12 Tchaikovsky, Sibelius String Serenade, Symphony No.2
    Milwaukee Symphony Orchestra

    Guest conductor Evan Rogister led the orchestra through Tchaikovsky’s deeply expressive “Serenade for Strings,” Sibelius’ broad, stirring Symphony No. 2 and Arutiunian’s powerful Concerto for Trumpet and Orchestra, featuring MSO principal trumpeter Mark Niehaus. Rogister and the players gave elegant shape to the Tchaikovsky, filling the piece with graceful interpretive details.
    Elaine Scmidt, Milwaukee Journal Sentinel

    Guest conductor Evan Rogister showed particular sensitivity to the exquisite melodies in Tchaikovsky’s Serenade for Strings at Friday night’s Milwaukee Symphony concert. Rogister’s awareness to the subtleties of the Elégie especially hit home. He phrased the opening scales as if delivering them parlando.……. Rogister had equally compelling ideas about all four movements of the Serenade. He expressed them through his long, sinuous arms, which promoted a gorgeous legato and rich, viscous tone in the slow music.
    Tom Strini, Third Coast Digest