2026 Miami Residency

Miami — Verdi’s Requiem

Adrienne Arsht Center

Fri 8:00 PM

Jan 23

Sat 8:00 PM

Jan 24

Details

Repertoire & Performing Artists

Verdi

Requiem

The Cleveland Orchestra

Now firmly in its second century, The Cleveland Orchestra, under the leadership of Franz Welser-Möst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. In recent years, The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned the ensemble into one of the most admired around the world.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming platform Adella.live and its own recording label. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2025–26 season marks Franz Welser-Möst’s 24th year as Music Director, a period in which The Cleveland Orchestra has earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of celebrated opera presentations.

Since 1918, seven music directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.

Franz Welser-Möst

Music Director

Now in his 24th season, Franz Welser-Möst continues to shape an unmistakable sound culture as Music Director of The Cleveland Orchestra. Under his leadership, the Orchestra has earned repeated international acclaim for its musical excellence, reaffirmed its strong commitment to new music, and brought opera back to the stage of Severance Music Center. In recent years, the Orchestra also launched its own streaming platform, Adella.live, and a recording label. Today, it boasts one of the youngest audiences in the United States.

In addition to residencies in the US and Europe, Welser-Möst and the Orchestra perform regularly at the world’s leading international festivals. Welser-Möst will remain Music Director until 2027, making him the longest-serving music director of The Cleveland Orchestra.

Welser-Möst enjoys a particularly close and productive artistic partnership with the Vienna Philharmonic. He regularly conducts the orchestra in subscription concerts at the Vienna Musikverein, at the Salzburg Festival, and on tour in Europe, Japan, China, and the US, and has appeared three times on the podium for their celebrated New Year’s Concert (2011, 2013, and 2023). At the Salzburg Festival, Welser- Möst has set new standards in interpretation as an opera conductor, with a special focus on the operas of Richard Strauss.

Among Welser-Möst’s many honors and awards, he was named an Honorary Member of the Vienna Philharmonic in 2024, one of the orchestra’s highest distinctions.

Asmik Grigorian

soprano

Asmik has made a name for herself on both the concert and operatic platforms since her international career began with a triumphant performance in Madama Butterfly at the Royal Swedish Opera. She then went on to perform to conquer role after role including: Salome at the Salzburg Festival (described as “a Salome to end all Salomes” (Financial Times), now available on DVD), Rusalka at the Royal Ballet and Opera and Teatro Real, Jenufa at the Royal Ballet and Opera and Wiener Staatsoper, and Tatiana (Eugene Onegine) at the Bayerische Staatsoper and Teatro alla Scala. Following her internationally acclaimed performance as Salome at the Salzburger Festspiele, she regularly returns, performing roles such as Chrysothemis (Elektra), the three leading soprano roles in Puccini’s Il Trittico, Lady Macbeth in Macbeth, Marie in Wozzeck (all recorded on DVD) and Polina in The Gambler. As a regularly engaged performer at the Wiener Staatsoper, she has performed the title role in Manon Lescaut, the title role in Turandot, Nedda (Pagliacci), Jenufa, and Tatiana (Eugene Onegin). She has also performed Marietta in Korngold’s Die tote Stadt and Liza (Pique Dame) at Teatro alla Scala, Nastasya in Charodeika at Oper Frankfurt, Cio-Cio San at the Arena di Verona, Royal Opera House, Metropolitan Opera, and the Deutsche Oper Berlin, Mrs. Lovett in Sweeney Todd at Vilnius City Opera, and Senta in Der Fliegende Hollander at the Bayreuth Festspiele (available on DVD). On the concert stage, she has performed Shostakovich 14 with the Orchestre de la Suisse Romande, Beethoven IX under Riccardo Muti at the Salzburg Festival, Verdi’s Requiem at the Cēsis Vidzeme Concert Hall in Latvia and with the Gewandhausorchester in Leipzig conducted by Welser-Möst, Marie in Drei Bruchstücke aus Wozzeck at the Teatro del Maggio Musicale Fiorentino and the Elbphilharmonie conducted by Zubin Mehta, Iolanta with the Berlin Philharmonic under the baton of Kirill Petrenko and R. Strauss’ Vier Letzte Lieder with the Orchestra di Santa Cecilia in Rome, the Vienna Philharmonic under the baton of Maestro Gustavo Dudamel and at the Teatro Massimo in Palermo.

Deniz Uzun

mezzo-soprano

Deniz Uzun gave her first concert at the tender age of 6. Born in Mannheim and supported from an early age, her performances regularly took place both on the operatic stage and at concert events in Germany and abroad. At 16, she attended the Precollege of the University of Music in Karlsruhe, before completing her song and concert studies at the University of Music and Performing Arts in Mannheim under the guidance of Prof. Snezana Stamenković. The mezzo-soprano has been working with Oylun Erdayi on her vocal development since 2013. Throughout her college years, the Friedrich Ebert Foundation and a fellowship from the Georgina Joshi Foundation enabled her to study at the Jacobs School of Music in Bloomington, Indiana. There she received an Artistic Diploma under the guidance of Prof. Carol Vaness in 2015. She celebrated her first successes with the role of „Isabella“ in L’Italiana in Algeri and „Ruggiero“ in Alcina.
Deniz was given a further insight into the professional world at the „Internationale Meistersinger Akademie" in Nuremberg, led by Edith Wiens. Furthermore, during her studies she was regularly engaged by the Festspielhaus Baden-Baden, first in the Young Artist program together with the Berliner Philharmonie in the production Cendrillon, later in the new production of Rolando Villazon‘s La Traviata and in the title role in L'Italiana in Algeri for children. She was chosen to become a member of the opera studio at the Bavarian State Opera in Munich and her acting talents soon became recognized. The interpretation of „Florence Pike“ in a new production of Albert Herring was described in a review by the Süddeutsche Zeitung as follows: „Uzun [...] has an already obvious presence. One always pays attention to her. Hearing her, her alto voice is almost a phenomenon, concise, clear and of a volume that you don't associate with such a slim body.“

As a former member of the Zurich Opera House (2016-21) Deniz has flourished in roles such as „Hänsel“ in Hänsel und Gretel, „L’Enfant" in L'Enfant et les Sortilèges, „Ronja“ in Ronja the Robber's Daughter, „Jacob“ in Gold, „Lucilla“ in Scala di Sieta, „Zelim“ in Vivaldi's rarely performed opera La Verita in Cimento, as well as „Sonyetka“ in Lady Macbeth von Mzensk, „Page“ in Salome and „Krista“ in Vec Makropulos. Another highlight was her role as „Ino“ in a Robert Carsen production of Semele, musically led by William Christie, with Cecilia Bartoli in the title role. Guest engagements led her to the Tel Aviv Opera, Cyprus Symphony Orchestra, the Jūrmala Festival in Latvia, to concert performances with Fabio Luisi with the Danish Radio Symphony Orchestra and the Dallas Symphony Orchestra and to the Salzburg Festival 2020 and 2021 where Deniz portrayed the „Third Maid“ in Elektra under the baton of Franz Welser-Möst. During the pandemic, Deniz held three song evenings titled "Opera goes folk" at the Zurich Opera House, accompanied by Yulia Levin, as a substitute for her canceled role debuts as "Olga" in Eugene Onegin and "Bradamante" in Alcina.

In the 2021/2022 season, Deniz made her debut at three houses, taking on title roles in Dido and Aeneas at Teatro Massimo Palermo, and Carmen at the Landestheater Salzburg, as well as "Olga" in Eugene Onegin at the Komische Oper Berlin. In a semi-staged version, Deniz sang the title role in Zanetto (Mascagni) in Zurich and Lugano, and for the first time in France she sang "Isaura" in Tancredi at the 40th Festival International d'opéra baroque et romantique in Beaune under the baton of Jérémie Rohrer.

The following season 22/23 she joined the ensemble of Komische Oper Berlin and received recognition from the press as „Una Donna“ in Intolleranza 1960: „..through her expressive approach to this role, Deniz Uzun uncovers traces of the bel canto tradition..“ written by Neue Musikzeitung. Later Deniz gave her role and house debut as „Orlofsky“ in Die Fledermaus at Teatro Carlo Felice and returned to Opernhaus Zürich to debut as „Luigia“ in Viva La Mamma alongside Ambrogio Maestri, followed by her first Wagner role at Müpa Budapest as „Waltraute“ in Götterdämmerung under the baton of Ádám Fischer. Passionate in the Lied- and concert genre Deniz performed recently a French, English and German recital at the revived Festival Capuchos 2023 in Portugal alongside pianist David Santos where she received huge recognition from the Scherzo Magazine for her „impeccable French, without the slightest hint of a German accent, this singer, whom we did not know, acts as a revelation: at ease in all registers, she knows how to put her very homogeneous voice, with a beautiful round and dark timbre, at the service of expression, fine and sensitive … as a result, it is on an opera stage that we dream of hearing her now.“

Highlight of all seasons has been so far 23/24 where Deniz returned to the Dallas Symphony as „Fricka“ and „Waltraute“ in the Ring Cycle with Fabio Luisi - the first semi staged concert version in US history -, as well as to the celebrated Barrie Kosky production of Eugene Onegin as „Olga“ at Komische Oper Berlin. Deniz proudly made her role and house debut at the season opening of Teatro Lirico di Cagliari where she sang „Rubria“ in Boito’s rarely performed opera Nerone under the baton of Francesco Cilluffo. In concert she has been seen and heard at the Berlin Philharmonic in Dvorak’s Stabat Mater, later on with the Berlin Radio Symphony Orchestra in Mendelssohn’s Drei geistliche Gesänge conducted by Martyn Brabbins, with the German State Philharmonic Rhineland-Palatinate as „Angel“ in Dream of Gerontius at BASF Feierabendhaus and with the Leipzig Gewandhaus Orchester in Verdi’s Messa da Requiem under the baton of Franz Welser-Möst, next to today’s most acclaimed soprano Asmik Grigorian.

Deniz is very much looking forward to the 2024/2025 season, which begins with Ravel’s Shéhérazade in Budapest with the MÁV Orchestra musically led by Robert Farkas. The season continues with a return to the Dallas Symphony Orchestra, where Deniz will revisit the Ring Cycle portraying „Fricka“ and „Waltraute“, followed by her prestigious debut with the Orchestra Sinfonia di Milano in Verdi’s Messa da Requiem conducted by Michele Gamba. Role and house debuts, such as portraying „Polina“ in Pique Dame at Teatro Regio di Torino, „Mère Marie de L’Incarnation“ in Dialogues des Carmelites at Teatro la Fenice, and „Maddalena“ in Rigoletto as well as „Flora“ in La Traviata at the Tiroler Festspiele Erl, will enrich Deniz's already impressive repertoire.

Uzun has received awards in several national and international Competitions. Most recently she won the first prize at the Elizabeth Connel 2022 International Singing Competition and in 2021 the Éva Marton Prize at the 4th Edition of the Eva Marton International Singing Competition as well as the Elena Obraszova Prize at the Tenor Viñas Competition in Barcelona, Spain. In 2018 Deniz won three special prizes at the Belvedere Competition and in 2015 she was in the Grand Finals of the Metropolitan National Council Auditions in New York City - having become the first Turkish-born participant in the finals of the competition, she was awarded the „Best Young Singer“ Prize in Istanbul by the Semiha Berksoy Foundation in 2016 and the „Leyla Gencer Prize (Golden Orphée)“ by the Académie Nationale du Disque Lyrique in Paris.

Throughout the course of her career Deniz has worked with conductors such as Nello Santi, Simone Young, Oksana Lyniv, Kirill Petrenko, Vladimir Jurowski, Jakup Hrůša, Vasily Petrenko, Markus Poschner, Gianandrea Noseda, Gabriele Ferro, James Gaffigan, Patrick Lange, Adrian Kelly, Gabriel Feltz, as well as with directors Barrie Kosky, Calixto Bieito, Robert Carsen, Andreas Homoki, Dmitri Tcherniakov, Krzysztof Warlikowski, Marco Štorman, Andrea Bernard, Fabio Ceresa, Nina Russi and Marie-Ève Signeyrole.

Joshua Guerrero

tenor

Mexican American tenor Joshua Guerrero enters the 2025/26 season with a series of major role and house debuts. He will make his role and house debut as Hoffmann in Les Contes d'Hoffmann at Opéra National de Lyon, perform Des Grieux Manon Lescaut for his house debut at the Gran Teatre del Liceu, and return to Dutch National Opera as Cavaradossi Tosca and Gabriele Adorno Simon Boccanegra. He also returns to the Opéra national de Paris as Rodolfo La bohème, and to the Wiener Staatsoper for Simon Boccanegra. On the concert stage, he will make his debut with The Cleveland Orchestra, performing Verdi’s Requiem under the baton of Franz Welser-Möst.

In the 2024/25 season, Guerrero returned to Wiener Staatsoper for the title role in Don Carlo and Pinkerton Madama Butterfly, and to Opéra national de Paris as Luigi Il Tabarro. He sang Macduff Macbeth at the Salzburg Festival and made his role debut as Don José Carmen at Teatro dell’Opera di Roma in a new production by Fabio Ceresa. Concert appearances included a series of holiday performances with the Netherlands Philharmonic Orchestra under Lorenzo Viotti, and a solo recital at LA Opera.

On the concert stage, he has toured Europe with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra performing Beethoven’s Symphony No. 9, and joined Dudamel and the Los Angeles Philharmonic for Haydn’s Creation and Beethoven’s Symphony No. 9. He made his debut with the Baltimore Symphony Orchestra under Marin Alsop in Symphony No. 9, and has appeared as a featured soloist at the Richard Tucker Music Foundation Gala at Carnegie Hall. He performed a nationally broadcast concert of opera arias and duets with soprano Joyce El-Khoury and the NDR Radiophilharmonie in Germany, sang Verdi’s Requiem with the Santa Fe Symphony, and appeared with soprano Ailyn Pérez in "One Amazing Night" presented by San Diego Opera. He also toured the U.S. with the Bel Canto Trio, including its 70th anniversary celebration.

Tareq Nazmi

bass

The renowned bassist Tareq Nazmi completed his studies at the University of Music and Performing Arts in Munich under the guidance of Edith Wiens and Christian Gerhaher, as well as privately with Hartmut Elbert. He began his career at the Opera Studio of the Bavarian State Opera, where he was a member of the Munich ensemble until 2016.

Through his expressive role portrayals, Nazmi has become a sought-after performer on international opera stages. Highlights of recent seasons include his performance as Sarastro at the Salzburg Festival in 2022, following his international breakthrough in 2021 with the role of the Speaker. In 2023, he impressed at the summer festivals with his first Italian role as Banco in Verdi's Macbeth (directed by Krzysztof Warlikowski), before returning to Salzburg in the 2023/24 season as Alvise in La Gioconda at the Easter Festival under the direction of Antonio Pappano. Invited by Franz Welser-Möst, he shone in Cleveland as Sarastro in Mozart's The Magic Flute and later at the Munich Opera Festival as Ferrando in Verdi's Il Trovatore and as Gurnemanz in Wagner's Parsifal. He made his debut at the Vienna State Opera as King Heinrich in Wagner's Lohengrin. Other important roles in his extensive repertoire include Filippo II in Verdi's Don Carlo, Zaccaria in Nabucco, and Hunding in Die Walküre.

In the 2024/25 season, Tareq Nazmi will continue his successful career with several significant debuts. He will perform the role of King Marke in Wagner's Tristan und Isolde for the first time at both the Grand Théâtre de Genève and with the Philadelphia Orchestra under Yannick Nézet-Séguin. Additionally, he will be seen at the Theater an der Wien as Oroveso in a new production of Bellini's Norma and will make a house and role debut as Gremin at the Dresden Semperoper. Another outstanding engagement this season is his return as Gurnemanz in Wagner's Parsifal at the Tokyo Spring Festival. He will also perform the bass part in Verdi's Messa da Requiem with the Orchestra dell'Accademia Nazionale di Santa Cecilia under the direction of Daniel Harding, and will once again appear as Pater Profundus in Mahler's Symphony No. 8 with the Vienna Symphony Orchestra under Philippe Jordan at the Vienna Konzerthaus.

As a sought-after concert soloist, Tareq Nazmi has a versatile repertoire that spans works from Bach to Beethoven, from Haydn to Brahms, and from Mozart to Dvořák and Mahler. He has already collaborated with renowned orchestras such as the Orchestre de Paris under Daniel Harding, the Orquestra Gulbenkian under Alain Altinoglu, the WDR Symphony Orchestra under Jukka-Pekka Saraste, the Pittsburgh Symphony Orchestra, and the Leipzig Gewandhaus Orchestra under Manfred Honeck, as well as the Balthasar Neumann Choir and Ensemble under Thomas Hengelbrock. As an ensemble bass, he has been heard in Verdi's Messa da Requiem with the Zurich Tonhalle Orchestra under John Eliot Gardiner, on tour with Teodor Currentzis, and with the Berlin Philharmonic under Daniel Barenboim. Other notable performances include Beethoven's Missa Solemnis in Munich under Kirill Petrenko, as well as concerts with the Munich Philharmonic under Philippe Herreweghe and the Berlin Radio Symphony Orchestra under Vladimir Jurowski.

As a lieder singer, Tareq Nazmi recently performed with Gerold Huber at the Schubertiade Hohenems, in Munich, Cologne, and at London's Wigmore Hall. In spring 2023, he performed Schubert's Winterreise at the Tokyo Spring Festival.

The Cleveland Orchestra Chorus

Now in its 74th season, The Cleveland Orchestra Chorus is celebrated for its versatility and refined musicianship, appearing regularly with The Cleveland Orchestra at Severance and Blossom Music Center. As one of the few all-volunteer, professionally trained choruses affiliated with a major American orchestra, it received the 2019–20 Distinguished Service Award, recognizing extraordinary service to the Orchestra.

Visit cochorus.com for more information on the Chorus and auditions.

Verdi

Composer

Verdi’s Requiem is a powerful tribute to life eternal. Best known for the fateful drum strikes in its iconic Dies Irae, Verdi’s dramatic tour de force offers a breathtaking journey through the stages of grief, ultimately ending in peaceful consolation. Music Director Franz Welser-Möst and The Cleveland Orchestra Chorus are joined by an elite lineup of soloists for this transcendent work.

Visiting Adrienne Arsht Center

Adrienne Arsht Center

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