iorgos Kanaris was born in Greece. He took his first musical steps in the boys’ choir of his hometown and in the Kanaris family ensemble, which was directed by his father Dimitrios Kanaris. He studied singing with such teachers as Josef Metternich in Munich and attended courses given by Helmuth Rilling and Thomas Quasthoff in Stuttgart and master classes given by Daphne Evangelatos at the Munich College of Music.
He won the special award in the oratorio/song category of the Maria Callas Grand Prix in 2005 and he has been engaged in various concerts conducted by Helmuth Rilling.
He has performed in Orff’s Carmina Burana at the Philarmonie im Gasteig in Munich and Cairo Opera House. Further invitations have notably taken him to Athens, the Prince Regent Theatre of Munich, the Margravial Opera House of Bayreuth and the Ruhr Triennial arts festival.
Giorgos Kanaris has been a regular member of the Bonn Opera since 2009. He made his debut there as Massimo in Handel’s Ezio. He has also played the part of Guglielmo in Mozart’s Cosi fan tutte, Figaro in Rossini’s The Barber of Seville, Sharpless in Puccini’s Madama Butterfly, Marcello in Puccini’s La boheme, Enrico in Donizzeti’s Lucia di Lammermoor, the title role of Mozart’s Don Giovanni, Papageno in Mozart’s The Magic Flute, the Count in Mozart’s The Marriage of Figaro and Peter in Humperdinck’s Hansel and Gretel.
Giorgos Kanaris was among the prize-winners at the Schloss Laubach Contest in 2009. In 2010 he won the prize of the ‘Friends of Bonn Opera’, which is awarded every two years. He received a scholarship from the Richard Wagner Society in 2011.
Giorgos Kanaris is a recitalist as well as an opera singer. Together with the conductor and pianist Thomas Wise he has given numerous recitals with works including Schumann’s Dichterliebe and Liederkreis, Schubert’s Schwanengesang, Winterreise and Die schöne Müllerin, Ravel’s Don Quichotte and songs by Richard Strauss and Hans Pfitzner.
|• W. A. Mozart||Don Giovanni||(Don Giovanni & Masetto)|
|• W. A. Mozart||La Finta Giardiniera||(Nardo)|
|• W. A. Mozart||Le nozze di Figaro||(Conte d’Almaviva)|
|• W. A. Mozart||Die Zauberflöte||(Papageno)|
|• W. A. Mozart||Cosi fan tutte||(Guglielmo)|
|• G. Rossini||Il barbiere di Siviglia||(Figaro)|
|• G. Rossini||Il matrimonio segreto||(Conte Robinson)|
|• G. Rossini||Italiana in Algeri||(Taddeo)|
|• L.v.Beethoven||Fidelio||(Don Fernando)|
|• G. Donizetti||Lucia di Lammermoor||(Enrico)|
|• G. Donizetti||L’elisir d’amore||(Belcore)|
|• G. Donizetti||Don Pasquale||(Malatesta)|
|• G. Puccini||Madama Butterfly||(Sharpless)|
|• G. Puccini||La Bohéme||(Marcello)|
|• G. Puccini||La Bohéme||(Schaunard)|
|• G. Puccini||Turandot||(Ping)|
|• G. Verdi||Jerusalem||(Count of Toulouse)|
|• G. Verdi||Traviata||(Giorgio Germont)|
|• G. Bizet||Carmen||(Escamillo & Dancairo)|
|• G. F. Haendel||Rinaldo||(Argante)|
|• G. F. Haendel||Ezio||(Massimo)|
|• G. F. Haendel||Giulio Cesare||(Achillas)|
|• E. Humperdinck||Hänsel & Gretel||(Peter)|
|• A. Lortzing||Der Wildschütz||(Graf von Eberbach)|
|• O. Nicolai||Die lustigen Weiber von Windsor||(Herr Fluth)|
|• S. Prokofiev||Die Liebe zu den drei Orangen||(Pantalone)|
|• M. Ravel||L’ heure espagnole||(Ramiro)|
|• R. Leoncavallo||I Pagliacci||(Silvio)|
|• R. Wagner||Tristan und Isolde||(Melot)|
|• L. Delibes||Lakmé||(Fréderic)|
|• F. Schreker||Der Ferne Klang||(Schmierenschauspieler)|
|• J. S. Bach||Magnificat|
|• J. S. Bach||Matthäus-Passion|
|• L. v. Beethoven||An die ferne Geliebte|
|• J. S. Bach||Messe in h-Moll|
|• J. S. Bach||Weihnachtsoratorium|
|• C. Orff||Carmina Burana|
|• F. Schubert||Winterreise|
|• F. Schubert||Schwanengesang|
|• F. Schubert||Die schöne Müllerin|
|• R. Schumann||Dichterliebe|
|• R. Schumann||Liederkreis|
|• R. V. Williams||Songs of Travel|
|• M. Ravel||Don Quichotte à Dulcinée|
|• J. Ibert||Chansons de Don Quichotte|
|• H. Duparc||Melodies|
|• G. Fauré||Requiem|
|• J. Brahms||Ein deutsches Requiem|
|• J. Haydn||Die Schöpfung|
|• V. Ullmann||Der Mensch und sein Tag – op. 47|
Traviata – G. Verdi
“A real public’s favourite is also the greek bariton Giorgos Kanaris in the role of Father Giorgio Germont, who sets domineering bold accents and cares with powerful voice for dynamic.”
“Though the strongest applause went to Giorgos Kanaris, inhabitant of Bonn, whose Giorgio Germont was at his best performance.”
Le Nozze di Figaro – Mozart
“GIORGOS KANARIS gives his Count powerful baritone outlines”
“The experienced warrior Georgios Kanaris acts and sings the Count sonorously and respectable”
“…the charm of Giorgos Kanaris, who presents a physical as well as vocally expressed and energetic Count”
“Giorgos Kanaris can definitely add in his noble and elegant voice accents of aggressive power of seduction”
“Giorgos Kanaris is a Count Almaviva, who always sets the tone with a pleasant baritone voice”
“Giorgos Kanaris as Almaviva radiates much virile grandeur”
Don Giovanni – Mozart
Giorgos Kanaris is in the title role as a singer and actor a convincing seducer and a charismatic nobleman…the opera house has a Don Giovanni, who hardly lets any desires unfulfilled, that he knows how to articulate the brutal and melancholic guy.
Giorgos Kanaris is a brazen radiant, constantly boastful, always magnificent and powerful Don Giovanni.
Lucia di Lammermoor – Donizetti
The Greek baritone Giorgos Kanaris is to the Bonn music friends apparently very admired, his continuous repertoire expansion, whatever versatility it demonstrates, is actually exemplary. For the shady Enrico his voice appears to sound a little bit too chivalric, even if his interpretation captures the character very good.
Giorgos Kanaris was with highly strong, rather slender baritone an intensive, considerably charismatic growing Enrico.
La Bohéme – G. Puccini
The greek baritone was able to develop himself continuously at the Opera of Bonn, his voice has been appropriate expanded. His Marcello thrills with masculine cantability.
Madama Butterfly – G. Puccini
The magnificent baritone Giorgos Kanaris goes ahead more nuanced in the role-making and shows as Sharpless amazing empathy.
Giorgos Kanaris in the role of the US-consul Sharpless wins over the audience with accurate leading, flexible and full of nuances baritone voice.
Giorgos Kanaris portrays Sharpless convincing and noble with his sonorous cavalier baritone.
The baritone Giorgos Kanaris convinced with his singing and has been celebrated from the audience.
Giorgos Kanaris is a vocal assertive, stiff consul on stage, which belongs here to the diplomatic habit.
Cosi fan tutte – W.A.Mozart
Giorgos Kanaris sings the somewhat rough-and-ready Guglielmo with clearly defined baritone color, which underlines powerfully his representation.
Giorgos Kanaris represents Guglielmo with grandiose and powerful bariton color
Kanaris with high affinity in the cantilenas of his part and his entrances.
Rinaldo – G. F. Haendel
Giorgos Kanaris’ Argante was an event, because his tremendous playing mood and his wonderfulbariton voice created a perfect roll profile.
Giorgos Kanaris as a baritonal weather-proof and highly playful Argante.
Especially thrilled Giorgos Kanaris as Argante. With perfect baritone voice provides the King of Jerusalem and offers a beautiful balance to the high voices of the evening.
Giorgos Kanaris with his hearty theatrical playing as Argante had the laughs on his side. His powerful bright baritone voice was astonishingly agile in the coloraturas.
Giorgos Kanaris was as Argante a powerful-voiced, well sounded bass with soft transitions between the registers.
Fidelio – L.v. Beethoven
“The minister was given his noble majesty through Giorgos Kanaris.”
Die Zauberflöte – W. A. Mozart
Giorgos Kanaris as a lovely comical Papageno, who is quick-thinking sufficient in the end of the opera to put a hooking curtain down with his own hands.
Also Giorgos Kanaris, an ingenuously naive Papageno to love, with his warm and flexible baritone voice.
Schwanengesang – Schubert
With Giorgos Kanaris is “Schwanengesang” in the best of hands. That the Bonn’s opera baritone can also sing Lied, has already been proved several times, and also on this evening his expressive interpretations were evident. Kanaris forms the moods of longing and unreturned love, wanderlust and homesickness, pain and happiness with noble restraint; no outbreak goes at the expense of beautiful sound, which his voice also in the high registers through his sonorous bass-range produces. However, the baritone remains in dramatic songs like “Atlas” or “Doppelgänger” vocally impressive: when he opens up, is his singing also physically imposing.
Barbier von Sevilla – Rossini
Giorgos Kanaris is a throughout stable Figaro, with slender, flexible and assertive voice, sovereign in every passage.
Winterreise – Schubert
Giorgos Kanaris, who, among other things, was awarded the prize of the “Opera Friends Bonn”, has attracted in the productions of the opera House much attention, particularly with his very elegant voice. Now, as a Lieder recitalist, he is no less convincing: his bright baritone, which he controls in the high register without tension, can be heard from the very first bar. In the low register he has a beautiful warmth. Giorgos Kanaris comes across the gloom of “Winterreise” very carefully, with a calm narrative tone and an elaborate art of legato. He abstains from mannerism and sentimentality. His interpretation is sensitive, but not sentimental. From other singers people are used to hearing sharper accentuations – Kanaris remains faithful in his concept of sonority. And this takes him over 24 gently shaped Lieder, in which the “Wirtshaus” (taken with the same prayerful quiet) makes perhaps the greatest impression.
La Finta Giardiniera– Mozart
Giorgos Kanaris gives a theatrical, clearly contoured and beautifuly sounding servant Nardo.
Giorgos Kanaris makes points with his wonderful baritone as her love-lost Nardo.
Der Ferne Klang – Schrecker
Giorgos Kanaris as vocally powerful and present “Schauspieler” in an excellent casting.
Dichterliebe – Schumann
Kanaris reached, with his slender and cleanly- guided baritone in the “Dichterliebe”, a continuously deepening representation of Heine’s poetry.