Praised by The New York Times for his “rich timbre” and “fine sense of line,” Mischa Bouvier is a winner of the 2010 CAG Victor Elmaleh Competition.  “Mischa Bouvier’s rich baritone voice…and his refined artistry” (Boston Musical Intelligencer), make an immediate impact combined with his keen musicality and remarkable communicative powers.  

Highlights of the 2015-16 season include recitals at Strathmore Hall (MD), St. Vincent College (PA) and the Artists Series of Tallahassee, FL, as well as special chamber music performances in Colorado with the Lysander Piano Trio at Lincoln Center of Fort Collins and the Lakewood Cultural Center.  With orchestra, he is the featured soloist in a special Holiday concert with the Tallahassee Symphony, and he also enjoys return engagements with the American Bach Soloists, Bach Collegium San Diego (December 2015 & March 2016), and Chatham Baroque in Pittsburgh (Purcell’s The Fairy Queen).

Recent featured performances include Mischa’s Carnegie Hall Stern Auditorium debut with Orchestra of St. Luke’s and Musica Sacra in Bach’s St. Matthew Passion (bass soloist) led by Ivan Fischer; his Alice Tully Hall debut with Musica Sacra and conductor Kent Tritle, singing the New York premiere of Jocelyn Hagan’s amass; his debut with his hometown Alabama Symphony Orchestra (Messiah); and his debut at Puerto Rico’s Casals Festival, singing the role of Jesus in St. Matthew Passion under the baton of Helmuth Rilling, with the esteemed ensemble TENET, with which he sings regularly.

He also sings regularly with the American Bach Soloists (Magnificat, Handel’s Acis & Galatea, Apollo & Dafne and Messiah and Lotti’s Mass for Three Choirs) and the Bach Collegium San Diego (Handel’s La Resurrezione and Mozart’s Requiem), plus other recent orchestral highlights include  Thomas Church Choir (St. John Passion – bass soloist / Pilate); Princeton Glee Club (Fauré’s Requiem and Vaughan Williams’ Five Mystical Songs); Columbus Symphony (Brahms’ Requiem); Pittsburgh’s Chatham Baroque (St. John Passion – bass soloist / Pilate); NYC’s ‘Sacred Music in a Sacred Space’ (St. Matthew Passion – bass soloist / Pilate); and the Colorado Symphony in Denver & Beaver Creek (Messiah).

Recent recitals with pianist Yegor Shevtsov include: Clemson University’s Utsey Chamber Music Series; Chamber Music Society of Little Rock; Macon Concert Series; Baldwin-Wallace Art Song Festival, and Trinity Church’s “Concerts at One.”  His debut at Carnegie Hall’s Weill Recital Hall featured new works by four emerging composers, including world premieres by Bryan Page and Yotam Haber, and songs by Ted Hearne and Gabriel Kahane.

A strong advocate for new music, Mischa recently offered a series of concerts at Brooklyn’s Barbès with programs exploring contemporary American song in collaboration with soprano Sarah Wolfson. Mischa has given several NYC performances of Mohammed Fairouz’ Furia, including a new orchestral version with the Knights, and he is featured on a CD of Fairouz’s opera Sumeida’s Song (Bridge): “…a soothing, cavernous baritone that can soar to heights of lyric beauty…” (Opera News). He has sung Lori Laitman’s Men With Small Heads, Paul Moravec’s Songs of Love and War ; music of Arvo Pärt with TENET at Zankel Hall at Carnegie Hall (in a series curated by David Lang); David Page’s 25 Poems; and the world premiere of Charles Fussell’s cycle Venture during Tanglewood’s Festival of Contemporary Music.

Recent roles include Moneybags Billy in Weill’s The Rise and Fall of the City of Mahagonny at Tanglewood with casting by James Levine; Lucifero in Handel’s La Resurrezione with American Bach Soloists’ Academy and the Baroque Band in Chicago; and Betto in Puccini’s Gianni Schicchi with the Dupage Opera Theatre.  Other roles performed include Malatesta in Don Pasquale, Le médecin in Debussy’s Pelléas and Mélisande, Enrico in Haydn’s L’isola Disabitata, Bardolph and Chief Justice in Gordon Getty’s Plump Jack, Leporello in Mozart’s Don Giovanni and Belcore in Donizetti’s L’elisir d’amore. He made his professional musical theater debut with the Boston Pops under the baton of Keith Lockhart singing Jigger Craig in Rodgers and Hammerstein’s Carousel in 2007 (now available on CD).

Mr. Bouvier has performed with a wide array of ensembles including Anonymous 4, the Mark Morris Dance Group, American Handel Society, New Mexico Symphony Orchestra, Boston Symphony Orchestra, Atlanta Baroque Orchestra, Close Encounters with Music, Five Boroughs Music Festival, Long Island Philharmonic, Metropolis Ensemble and Christopher Williams Dance. He has collaborated with Sting on Songs from the Labyrinth in Los Angeles.

Mischa Bouvier received his B.M. from Boston University and his M.M. from the University and Cincinnati College-Conservatory of Music. He participated in training programs at the Lyric Opera Cleveland, Internationale Meisterkurse für Musik, Carmel Bach Festival and Tanglewood Music Festival.


J.S. Bach: Grosser Herr, o starker König from Welbnachts- Oratorium

Ravel: Chanson romanesque from Don Quichotte à Dulcinée

Willlam Bolcom: Fur (Murray the Furrier) from Cabaret Songs

Britten: Within this frail crucible of Light from Rape of Lucretia

Weill: "The Rise and Fall of the City of Mahagonny"

J.S. Bach: WeIt, ade! ich bin dein müde from Der Friede sei mit dir (BWV 158)

Ives: Memories (A: Very Pleasant, B: Rather Sad) from 114 Songs

Charles Fussell: Venture

Rachmaninov: The Dream from 6 Romances, Op. 8

Handel: Thus saith the Lord... But who may abide from Messiah

Ravel: Le cygne from Histoires Naturelles

Haydn: Chi nei cammin d'onore from L'isola disabitata

Rachmaninov: A Fragment of Alfred de Musset, Op. 21, No. 6


  • Quotes

    “Mischa Bouvier’s immensely sympathetic, soulful voice lent uncommon depth…”
    -San Francisco Classical Voice

    “Mischa Bouvier is authoritative and grand, with a soothing, cavernous baritone that can soar to heights of lyric beauty…”
    -Opera News

    “Mischa Bouvier’s Lucifer dealt confidently with music that ranges widely, from self-justifying to venomous.”
    -The Chicago Tribune

    “… a baritone with a rich timbre and a fine sense of line, brought considerable character to songs by Brahms and Paul Bowles.”
    -The New York Times

    “… a young American baritone with an extraordinary and varied background for his years, has a firm, finely directed sound with a distinctive fast vibrato. He used it excellently as a lively Bardolph with a cockney accent.”
    -San Francisco Classical Voice

    “… a very well-handled voice. His phrasing was subtly handled to sustain the vocal line with polished maturity.”
    -The Monterey Country Herald

    “Mischa Bouvier was a delight to encounter for the first time. He possesses a powerful bass voice, its dark colors strongly projected throughout the entire range, which he uses with intelligence and commitment.”
    -Pittsburgh Tribune-Review

    “Bass soloist Mischa Bouvier negotiated some unusually florid vocal lines for bass with ease and composure… Bouvier’s singing in the air…was solemn and distinguished…”
    – The Cincinnati Enquirer

    “Bass Mischa Bouvier added a warmth and sustenance to his arias…”
    -Pittsburgh Post-Gazette

    “Luminously sung by Mischa Bouvier, the songs ventured compellingly into mystery even when being whimsical.”
    -The Berkshire Eagle

    “I particularly admired bass Mischa Bouvier’s rich, solemn timbre and the ease with which he negotiated his lines.”

  • Reviews


  • Orchestral Repertoire

    JOHANN RUDOLF AHLE: Magnificat (bass)
    J.S. BACH: B Minor Mass
    J.S. BACH: St John Passion (Pilate; bass arias)
    J.S. BACH: St John Passion, 1725 version (all bass roles)
    J.S. BACH: St Matthew Passion (all bass roles)
    J.S. BACH: Christmas Oratorio
    J.S. BACH: Magnificat
    J.S. BACH: Jesu, meine Freude, BWV 227
    J.S. BACH: Singet dem Herrn, BWV 225
    J.S. BACH: Schweigt stille, plaudert nicht (“Coffee Cantata”), BWV 211
    J.S. BACH: Ich will den Kreuzstab gerne tragen, BWV 56
    J.S. BACH: Ich habe genug!, BWV 82
    J.S. BACH: Cantatas 4, 7, 8, 9, 45, 62, 79, 92, 107, 123, 125, 158
    BEETHOVEN: Mass in C Major, Op. 86
    GEORG BENDA: Des Jünglinges heilige Lehren
    CHRISTOPH BERNHARD: Unser keiner lebet ihm selber
    CHRISTOPH BERNHARD: Wohl dem, der den Herren fürchtet
    JOHANNES BRAHMS: Liebeslieder-Walzer, Op. 52
    JOHANNES BRAHMS: Neue Liebeslieder, Op. 65
    JOHANNES BRAHMS: Zigeunerlieder, Op. 103
    BENJAMIN BRITTEN: Cantata misericordium
    NICOLAUS BRUHNS: Ich liege und schlafe
    DIETERICH BUXTEHUDE: Jesu, meines Lebens Leben, BuxWV 62
    DIETERICH BUXTEHUDE: Jesu Meine Freude, BuxWV 60 (bass)
    WILLIAM BYRD: Ye Sacred Muses
    WILLIAM BYRD: Mass for 3 Voices
    MARC-ANTOINE CHARPENTIER: In Nativitatem Domini Canticum
    JOHN DOWLAND: “Song from the Labyrinth” arr. Sting – various (chorus member)
    THEODORE DUBOIS: Les sept paroles du Christ
    RICHARD EINHORN: Voices of Light
    GABRIEL FAURÉ: Requiem
    GEORGE FRIDERIC HANDEL: Messiah, Dublin version
    GEORGE FRIDERIC HANDEL: Israel in Egypt, HWV 54
    GEORGE FRIDERIC HANDEL: Apollo e Dafne, HWV 122 (Apollo)
    GEORGE FRIDERIC HANDEL: La resurrezione, HWV 47 (Lucifero)
    GEORGE FRIDERIC HANDEL: Hercules, HWV 60 (Hercules)
    GEORGE FRIDERIC HANDEL: Cuopre tal volta il cielo, HWV 98
    GEORGE FRIDERIC HANDEL: Dalla guerra amorosa, HWV 102a
    GEORGE FRIDERIC HANDEL: Te Deum (“”Dettingen””), HWV 283 – excerpts
    FRANZ JOSEPH HAYDN: L’isola disabitata (Enrico)
    JOSQUIN: Nymphes de bois (tenor)
    LOWELL LIBERMANN, Appalachian Liebeslider, Op. 54 (Roy)
    THOMAS LINLEY: Song of Moses
    FELIX MENDELSSOHN: Elijah (Elijah)
    CLAUDIO MONTEVERDI: Vespers, 1610 (all bass roles)
    CLAUDIO MONTEVERDI: Ardo, avvampo, mi struggo from Madrigals, Book VIII (all bass roles)
    CLAUDIO MONTEVERDI: Il Combattimento di Tancredi from Madrigals, Book VIII (all bass roles)
    CLAUDIO MONTEVERDI: Selva Morale e Spirituale
    PAUL MORAVEC: Songs of Love and War
    W.A. MOZART: Requiem
    W.A. MOZART: Missa Brevis in C-major, K.220 “”Sparrow Mass”
    W.A. MOZART: Great Mass in C minor, K. 427
    W.A. MOZART: Vesperae solennes de confessore, K. 339
    MICHAEL NYMAN: The Man Who Mistook His Wife for a Hat (Dr. P)
    BRYAN PAGE: Misogyny Songs
    BRYAN PAGE: Square Root of 25 Poems
    DANIEL PINKHAM: A Song for St. Cecelia’s Day
    ARNOLD SCHOENBERG: Ode to Napoleon Buonoaparte, Op. 41 (Sprechstimme)
    GREGORY SPEARS: Bird-Curse Aria from WOLF-IN-SKINS
    CHARLES STANFORD: Magnificat, Op. 164 (bass I)
    IGOR STRAVINSKY: Berceuses du chat
    THOMAS TALLIS: Suscipe questo Domine
    GEORG PHILIPP TELEMANN: Kanarienvogel Kantate
    FRANZ TUNDER: Da mihi, Domine
    FRANZ TUNDER: Nisi Dominus aedificaverit
    VAUGHAN WILLIAMS: Five Mystical Songs
    VAUGHAN WILLIAMS: Fantasia on Christmas Carols
    MATTHIAS WECKMANN: Wie liegt die Stadt so wüste
    MATTHIAS WECKMANN: Kommet her zu mir alle, die ihr mühselig und beladen seid

  • Programs


    Whether well-known folk music protests of the Vietnam War, or an unsolicited campaign ditty in support of the Gold Standard and William McKinley, song in America has long been a tool of political and social expression. “Mad in America” is a recital exploring American political and social song.

    CHARLES ALBERT TINDLEY: I’ll overcome someday
    HUDDIE LEDBETTER: Bourgeois Blues/Mr. Hitler
    GABRIEL KAHANE: Underberg
    CHARLES IVES: Selections
    1. William Will
    2. They are There!
    3. Tom Sails Away
    4. “Nov. 2, 1920”
    5. In Flanders Field
    WILLIAM BOLCOM: Radical Sally
    MARC BLITZSTEIN: The Nickel Under the Foot
    YOTAM HABER: A Wife Explains Why She Likes Country
    CW CUSTER: Wifey is a Real Suffragette
    L MAY WHEELER: Oh Dear, What Can the Matter Be
    FRANK BOYLEN: Shall Women Vote?
    HANS EISLER: Selections from Holly Liederbuch
    1. L’automne californien
    2. Hollywood-Elegie Nr. 7
    3. Nightmare

     PROGRAM 2

    1. Chanson romanesque
    2. Chanson épique
    3. Chanson à boire
    1. Frühling über’s Jahr
    2. Ganymed
    3. Cophtisches Lied II
    4. Der Schäfer
    5. Der Rattenfänger
    1. Сон, Op. 8, no. 5 (“A Dream”)
    2. В молчаньи ночи тайной, Op. 4, no. 3 (“In the Silence of the Secret Night”)
    3. Островок, Op. 14, no. 2 (“The Isle”)
    4. Отрывок из А. Мюссе, Op. 21, no. 6 (“Fragment from Musset”)
    1. In the Alley
    2. Autumn
    3. The Side Show
    4. Tom Sails Away
    5. Memories (A. Very Pleasant, B. Very Sad)
    1. Waitin
    2. Over the Piano
    3. Fur (Murray the Furrier)
    4. The Actor
    5. The Song of Black Max (As Told by the De Kooning Boys)
    1. I Hate Music from I Hate Music!
    2. Tavouk Gueunksis from La Bonne Cuisine
    3. Civet à Toute Vitesse (Rabbit at Top Speed) from La Bonne Cuisine

  • Opera Repertoire

    BOCK & HARNICK: Fiddler on the Roof (Tevye)
    BOCK & HARNICK: She Loves Me (Georg)
    BOCK & HARNICK: She Loves Me (Shopper/Caroler)
    DEBUSSY: Pelléas et Mélisande (Doctor)
    DONIZETTI: Don Pasquale (Malatesta)
    DONIZETTI: L’elisir d’amore (Belcore)
    DONIZETTI: Lucia di Lammermoor (Enrico)
    GORDON GETTY: Plump Jack (Bardolph)
    GORDON GETTY: Plump Jack (Chief Justice)
    GILBERT & SULLIVAN: Trial by Jury (Usher)
    GILBERT & SULLIVAN: The Pirates of Penzance (Sergeant of Police)
    GLASS: The Fall of the House of Usher (William)
    HANDEL: Hercules (Hercules)
    HAYDN: L’isola disabitata (Enrico)
    MOORE: The Ballad of Baby Doe (Bouncer)
    MOORE: The Ballad of Baby Doe (Washington Dandy)
    MENKEN & ASHMAN: Little Shop of Horrors (Seymour Krelborn)
    MOZART: Le Nozze di Figaro (Count)
    MOZART: Le Nozze di Figaro (Figaro)
    MOZART: Le Nozze di Figaro (Bartolo)
    MOZART: Don Giovanni (Leporello)
    MOZART: Die Zauberflöte (Papageno)
    MOZART: Così fan tutte (Guglielmo)
    PUCCINI: Gianni Schicchi (Betto)
    RODGERS & HAMMERSTEIN: Carousel (Jigger Craigin)
    ROSSINI: Il barbiere di Siviglia (Fiorello)
    ROSSINI: Il barbiere di Siviglia (Officer)
    VERDI: Don Carlo (Deputy)
    WEILL: Rise and Fall of the City of Mahagonny (Moneybags Billy)