Steven Osgood is a conductor who brings a distinct musical incisiveness and dramatic insight to his work as a result of a unique combination of his experience in the world of theater as well as opera. He has proven his expertise in repertoire ranging from the baroque through the contemporary era’s most challenging works.
Notable conducting engagements include productions at New York City Opera (La Boheme, Seance on a Wet Afternoon), Netherlands Opera (Marco Polo, Peony Pavilion), Edmonton Opera (Bluebeard’s Castle, Erwartung, La Traviata), Chautauqua Opera (Peter Grimes and Tosca), Hawaii Opera (Tosca), Opera Memphis (Die Fledermaus, This Is the Rill Speaking & Bon Appetite, The Rape of Lucretia), Fort Worth Opera (Glass’ Hydrogen Jukebox), Long Beach Opera (Aidanamar), Sarasota Opera (Little Nemo), Wolf Trap Opera (A Midsummer Night’s Dream), Manhattan School of Music (Griffelkin, Summer and Smoke,The Ghosts of Versailles), Beth Morrison Projects (Sumeida’s Song, Songs from the Uproar), Juilliard Opera Theater (Transformations), Northwestern University (Conrad Cummings‘ The Golden Gate, The Ghosts of Versailles), DiCapo Opera (Floyd’s Susannah, Hoiby’s A Month in the Country, Picker’s Thérèse Raquin) and the Miller Theater at Columbia University (Xenakis’ Oresteia).
He has also conducted orchestral concerts with the Kitchener-Waterloo Sympony, Wintergreen Festival Orchestra, and the Chautauqua Festival.
This season, he conducted The Mother of Us All at the Manhattan School of Music, and Thumbprint for Beth Morrison Productions at the Prototype Festival in New York. This summer, he will return to Chautauqua to conduct Madama Butterfly.
As Artistic Director of American Opera Projects from 2001 to 2008, he conducted the world premieres of Paula Kimper’s Patience and Sarah at the 1998 Lincoln Center Festival, and Janice Hamer’s Lost Childhood at the International Vocal Arts Institute in Tel Aviv in 2007. He also created the company’s nationally recognized Composers and the Voice Workshop Series, which enjoyed 5 successful seasons and fostered great vocal writing from 30 emerging composers from the United States and Canada. In recent seasons he has continued collaborating with AOP, conducting workshops of Tarik O’Regan’s Heart of Darkness, Conrad Cummings’ The Golden Gate, and Séance on a Wet Afternoon by Stephen Schwartz.
At the beginning of his career, he prepared the world premiere production of Tan Dun’s Marco Polo for the Munich Bienalle in 1996.With the Santa Fe Opera he was Assistant Conductor for the world premieres of Peter Lieberson’s Ashoka’s Dream, and Bright Sheng’s Madame Mao, as well as the American premieres of Hans Werner Henze’s Venus und Adonis, and Kaija Saariaho’s L’amour de loin.
Mr. Osgood has worked with many of North America’s premiere opera companies, including Canadian Opera Company, the Lake George Opera Festival, the San Francisco Opera, and The Metropolitan Opera, where he has served as Assistant Conductor for the world premiere of Tan Dun’s The First Emperor, Glass’ Satyagraha, Adams’ Nixon in China, and Muhly’s Two Boys, to name a few.