Twice awarded the Queen Elizabeth II Silver Jubilee award, Australia’s leading young tenor began his musical training as a horn player and studied voice at the Victorian College of the Arts with Dame Joan Hammond. He has also studied with Gösta Winbergh, Neil Shicoff, Luigi Alva and attended Irwin Gage’s Lieder class.
After attending the Opernstudio in Zurich, Steve Davislim was an ensemble member of the Zurich Opera, where his roles included Almaviva (Il barbiere di Siviglia), Steersman (Der fliegende Holländer), Camille (Die lustige Witwe), Tamino (Die Zaubeflöte) and The Painter (Lulu) under Franz Welser-Möst, Don Ottavio (Don Giovanni) and Ferrando (Così fan tutte) with Nikolaus Harnoncourt and Prinz in Heinz Holliger’s Schneewittchen.
Important appearances include Almaviva (Il barbiere di Siviglia) in the Staatsoper Berlin, Tom Rakewell (The Rake’s Progress) in Hamburg, Fenton (Falstaff) at the Royal Opera, London, Orfeo by Haydn at the Schwetzinger Festspiele, Tamino (Die Zauberflöte) at the Ludwigsburg Festival, Don Ottavio (Don Giovanni) in Sydney and Naples, Tamino (Die Zauberflöte), Belmonte (Die Entführung aus dem Serail), and Tom Rakewell (The Rake’s Progress) for the Volksoper in Vienna. He has appeared in Così fan tutte in Helsinki, Weber’s Oberon in Paris (Châtelet), Caen and London, and as Pong (Turandot) at the Salzburg Festival 2002. In 2003 he sang Lensky (Eugene Onegin) and David (Die Meistersinger von Nürnberg) at the Sydney Opera House.
In 2005 Steve Davislim made his debut at Chicago Lyric Opera as Jacquino (Fidelio) with Christoph von Dohnányi, sang Tom Rakewell (The Rake’s Progress) in Dresden, Lurcanio (Ariodante) in Barcelona and Belmonte (Die Entführung aus dem Serail) at the Schleswig-Holstein Festival 2006. 2007 started with Lensky (Eugene Onegin) in Hamburg and a much acclaimed Görge in Zemlinsky's Traumgörge in Berlin. He also returned to Australia in October to work with the Sydney Symphony. A turning point in his career was the interpretation of Idomeneo at the opening of La Scala di Milano in December 2005 under Daniel Harding.
Steve Davislim has performed with the most prestigious orchestras in Australia, USA and Europe, including the Australian Chamber Orchestra and the Melbourne Symphony Orchestra; the Cleveland, San Francisco and Chicago symphony orchestras; the Royal Danish Orchestra, the symphony orchestras of Zurich, Vienna, Turin, Madrid, Dresden, Brussels, Lyon, at the BBC Symphony Orchestra, and also at the BBC Proms, New York Lincoln Center Festival, Salzburg and Lucerne festivals.
He has worked with such esteemed conductors as Yuri Ahronovitch, Gary Bertini, Sir Colin Davis, Adam Fischer, Rafaele Frühbeck de Burgos, Sir John Eliot Gardiner, Valery Gergiev, Michael Gielen, Nikolaus Harnoncourt, Bernard Haitink, Thomas Hengelbrock, René Jacobs, Armin Jordan, Lorin Maazel, Marc Minkowski, Sir Roger Norrington, Antonio Pappano, Michel Plasson, Riccardo Chailly, Marcello Viotti, Franz Welser-Möst, Philippe Herreweghe and David Zinman.
Recent performances have included the world premiere of Teneke by Fabio Vacchi, under Roberto Abbado at La Scala, Haydn’s Creation with William Christie on tour, A Child of Our Time with Sir Colin Davis in London, St Matthew Passion in Munich and Boston, Candide in Vienna, and Messiah in Washington.
Mozart: Die Entführung aus dem Serail, MET New York, April 2008 "Steve Davislim made a very fine house debut as Pedrillo, singing with an appealing tenor and lively stage presence. There were plenty of sparks betweeen him and Blondchen." The New York Times, 28 April 2008, Vivien Schweizer
"Steve Davislim as Pedrillo held back a bit on his so-called roguishness, but he also had a fine tenor." ConcertoNet.com, April 2008, Harry Rolnick
"Hero and Heroine were well supported by tenor Steve Davislim, a native of Malaysia making his MET debut as Belmonte's servant Pedrillo" AP Associated Press, 27 April 2008, Mike Silvermann
Isaac Nathan: Don John of Austria, City Recital Hall, Angel Place, Sydney, October 2007 "Tenor Steve Davislim was a nimble, light-toned Don John" The Australian, 23 October 2007, Murray Black
Tchaikovsky: Eugene Onegin, Hamburg Staatsoper, April 2007 ”Die schönste Leistung des Abends kam von Steve Davislim, der als Lenski genau die richtige Mischung aus poetischer Schwärmerei und Melancholie besass, und dazu noch einen ganz locker und höchst musikalisch geführten, bis in die sichere Höhe angenehm timbrierten Tenor sein eigen nannte.” Orpheus, July/August 2007, Hartmut Kühnel Zemlinsky: Der Traumgörge, Deutsche Oper Berlin, May 2007 “Zwei junge, hingebungsvoll singende Künstler sind ein wahrer Glücksfall für den überwiegend freundlich aufgenommenen Abend. Steve Davislim verleiht mit seinem schönen lyrischen Tenor dem Görge eine angenehme askutische Präsenz und steht die umfangreiche und anspruchsvolle Partie auf bewundernswerte Weise durch und ist eine wirklche Entdeckung.” Orpheus, July/August 2007, Ingrid Wanja
“Ein klangschön intonierender Görge ist Steve Davislim.” NZZ, 6 June 2007, Georg-Friedrich Kühn
“... allen voran glänzte Steve Davislim in der Titelpartie mit lyrischem Tenor.” Der neue Merker, June 2007, K.W.H.
“Herausragend singt Steve Davislim als Görge ...” Financial Times Deutschland, Joachim Lange
“Steve Davislim manages to bring charisma and intelligence to the murderously difficult role, singing with lyrical refinement and courage.” Financial Times, Shirley Apthrop, 5 June 2007
“Doch Steve Davislim macht die Blässe der Titelfigur musikalisch wett, auch wenn er akustisch oft unvorteilhaft plaziert ist. Lyrisch geschmeidig, hat sein Tenor zuglich baritonale Kraft, die vor allem im zweiten Akt gebraucht wird. Standhaft meistert Davisim diese mörderische Partie, wobei ihm der vorsichtig balancierende Jacques Lacombe im Graben virtuos über die Runden hilft.” Opernwelt, June 2007,Olaf Wilhelmer
“Steve Davislim singt mit schlanker Stimme anrührend von diesem Sich-Gesund-Träumen.” Berliner Zeitung, 29 May 2007, Wolfgang Fuhrmann
“Steve Davislim in der Titelpartie singt schön, stimmig, schlüssig, mit warmen Timbre, fabelhafter Textverständlichkeit.” ND, Rober Becker, 30 May 2007
“Steve Davislim wirft sich mit ganzer Kraft in die mörderische Tenorpartie des Görge.” Neues Deutschland, Roberto Becker, 30 May 2007
“Viel Applaus ernteten unter anderem auch Gastsirigent Jacques Lacombe und der Sängerdarsteller Steve Davislim in der Titelrolle.” ddp-bin, May 2007
“... will Steve Davislim als metallisch glänzender Görge da immer noch …” Kieler Nachrichten, Irene Bazinger, 30 May 2007
Mozart: Die Zauberflöte / Tamino, Teatro San Carlo “... Steve Davislim was fully at ease with the role of Tamino, displaying smooth singing and refined acting ...” Opera, Enrico Tellini, March 2007 Haydn: Die Schöpfung, Haydntage Eisenstadt, Adam Fischer, September 2006 “Steve Davislim mit hellem und höhensicherem Tenor ...” Kurier, Helmut Christian Mayer, 9 September 2006
“Steve Davislim mit warm timbriertem Tenor ...” Die Presse, Gerhard Kramer, 12 September 2006
“Steve Davislim bringt einen angenehm timbrierten Tenor und eine genau konturierte Interpretation ein ...” Krone, Oliver A. Láng, 10 September 2006 Handel: Ariodante / Lurcanio, Barcelona, May 2006 “Als Ariodantes Bruder Lurcanio bot Steve Davislim eine rundum überzeugende Leistung; der lyrische Tenor ist von reicher Substanz und sehr empfindsamem Klang, wovon besonders seine Arie “Del mio sol vezzosi rai” profitierte.” Orpheus, July 2006 Don Ottavio, Neapel, April 2006 “Aussergewöhnlich gut auch Steve Davislim als eminent koloratursicherer, männlich und edel timbrierter und elegant singender Don Ottavio.” Orpheus, Rolf Fath, July 2006
Martin: Le vin herbé, Berlin, RIAS Kammerchor mit Daniel Reuss, 22 February 2006 Der grandiose Tenor Steve Davislim gibt dem traurigen Helden ohne alle Tenormätzchen und -manierismen tief berührende Konturen. Der Tagesspiegel-Online, 24 February 2006, Uwe Friedrich
Idomeneo, La Scala, 7 December 2005 “If I had to pick one performance from this Mozart Year to cherish, it would be that of Australian tenor Steve Davislim as Idomeneo at Milan’s Teatro alla Scala. After conquering the superhuman demands of the coloratura aria Fuor del mar, Davislim sang the tortured father-king’s prayer ‘Accogli, oh re del mar’ so heavenly, it reminded me of an incident several years ago … At the end of George Balanchine’s Concerto Barocco at New York City Ballet, the little old lady sitting in front of me turned around, caught my eye and said, ‘It’s almost enough to make you believe in God.’” St. Petersburg Times, Larry L. Lash, 22 October 2006
“Steve Davislim sang a beautifully poised and cleanly tuned Idomeneo, unfazed by the challenge of “Fuor del mar”.” Telegraph, 10 December 2006, Rupert Christiansen
“In the title role, Australian tenor Steve Davislim made a strong impression, combining a burnished lower-middle register with an easy head-voice, fluent coloratura, solid legato and persuasive diction.” Opera News, Stephen Hastings, March 2006
“Steve Davislim had stage presence, balmy timbre and strong coloratura.” FT. com, 10 December 2005, Andrew Clark
“The singers also earned praise, including Australian tenor Steve Davislim, Idomeneo.” SFGate, 7 December 2005, Antonio Calanni
“Steve Davislim headed a cast of uniformly excellent voices ... but it was Davislim’s ravaged ruler who most commanded attention. The role demands lyricism, pyrotechnic agility and profound dramatic weight. Davislim combined all these qualities with dramatic charisma and exceptional musical intelligence. Each note had weight and meaning, each phrase direction. He made the ill-fated monarch’s inner struggles utterly real and moved around La Scala’s broad stage with leonine grace.” The Weekend Australian, 9 December 2005, Shirley Apthorp
“Steve Davislim impressed as Idomeneo.” Guardian, 9 Dezember 2005, Martin Kettle
“In der Titelrolle bestach Steve Davislim, dessen Idomeneo alle Facetten des leidgeprüften Vaters zeigte, der sich am Schluss in Würde zurückzog. Nach der verständlichen Premièren Nervosität kamen bei dieser 4. Vorstellung auch die gefürchteten Koloraturen von “Fuor del mar” mit grosser Sauberkeit.” Der neue Merker, January 2006, Eva Pleus
“Alle tragenden Figuren sind mit jungen Kräften besetzt, ...und Steve Davislim in der Titelrolle brauchen einen Vergleich mit grossem Namen nicht zu scheuen.” Salzburger Nachrichten, 9 December 2005, Derek Weber
“Die Sänger, nicht durchweg mit grossen Stimmen, dafür aber stilsicher und stilrichtig, fügten sich in dieses Konzept: .. Steve Davislims jugendlicher Tenor, Idomeneo.” Opernwelt, February 2006, Dietmar Polacek
“Steve Davislim singt den Idomeneo ohne spektakuläres Gehabe, virtuos in der Bravourarie des zweiten Aktes und innig in den Peripetien des dritten Aktes.” NZZ, 9 December 2005, Peter Hagmann
“Nel cast vocale, quasi tutto di debuttanti alla Scala, è una bella sorpresa il giovane tenore Steve Davislim nel ruolo del protagonista. Idomeneo autorevole, di bel timbro e fraseggio elegante, capace di chiaroscuri efficaci nell’aria “Vedrommi intorno l’ombra dolente” e tecnicamente ferrato nelle colorature di “Fuor del mar”.” Il messaggero, 8 December 2005, Alfredo Gasponi
“Steve Davislim, vestito con la cerata della Tempesta perfetta , ha voce morbida e calda, un bel legato e sfumatura, una vocalizzazione niente male.” Il Giornale. 8 December 2005, Sabrina Cottone
“Steve Davislim, australiano mistosangue irlandese-malese è un Idomeneo dal timbro scuro, espressivo e dalla presa scenica.” Corriere de l Ticino, 9 December 2005, Elsa Airoldi
2010 Schedule
January 19. Basingstoke, England, Beethoven: Symphony No. 9. January 28. Madrid, Spain. Beethoven: Symphony No. 9. January 31. Paris, France. Beethoven: Symphony No. 9. February 7. London, Beethoven: Symphony No. 9. February 6, 9, 11. Mailand, Teatro alla Scala. Schumann: Faust-Szenen. February 19, 20, 21. Madrid, Spain. Beethoven Mass in C minor. March 4, 5, 6. Melbourne, Victorian Arts Centre, Hamer Hall. MSO, Fauré: Pavane. Debussy: La mer. Rachmaninov: The Bells. March 19, 21, 29. Vienna, Musikverein. Szymanowski: Symphony No. 3. March 25. Freiburg, Germany. Schubert/Zender: Winterreise. March 27. Amsterdam, The Netherlands. Schubert/Zender: Winterreise. April 22, 23. Leipzig, Germany. Gewandhaus. Schumann: Faust-Szenen. April 30. Vienna, Austria, Konzerthaus. Schubert: Die schöne Müllerin. June 1. Vienna, Austria, Musikverein. Beethoven: Symphony No. 9. June 11. Florence, Italy. Teatro Comunale. Mendelssohn: Symphony No. 2 'Lobgesang'. June 16, 17. Paris, France. Salle Pleyel. Beethoven: Symphony No. 9. July (dates tbc) London, England, Barbican Center. Beethoven: Symphony No. 9. September 18. Rotterdam, The Netherlands, De Doelen. Beethoven: Symphony No. 9. September 21. Den Haag, The Netherlands. Beethoven: Symphony No. 9. September 30. Berlin, Germany, Philharmonie. Martinu: Julietta. October 1, 2. Berlin, Germany. Philharmonie. Martinu: Julietta. November 13. Berlin, Germany. Philharmonie. Wagner: Fliegender Holländer. November 17. Vienna, Austria, Musikverein. Händel: Messiah. December 30, 31. Vienna, Austria, Konzerthaus. Beethoven: Symphony No. 9.
2011 Schedule
January 1. Vienna, Austria. Konzerthaus. Beethoven: Symphony No. 9. January 30. Baden-Baden, Germany, Festspielhaus. Mozart: Requiem. Jan./Feb (tbc dates) Baden-Baden, Germany, Festspielhaus. Mozart: Cosi fan tutte.
Steve Davislim and Simone Young perform Foggy Foggy Dew:
