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TACT Artists Management

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Artist management for exceptional classical artists. Expertise, passion and care at the heart of everything we do.

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Victoria Randem (@victoria.randem) makes her debut as Mimì in R. B. Schlather’s new production of Puccini’s La bohème at the Norwegian National Opera and Ballet in Oslo (@operaen_), opening tomorrow, October 31.

Schlather’s staging takes its cue from the episodic structure of Henri Murger’s stories about young artists in Paris, which inspired the opera. It follows the poet Rodolfo and his neighbor Mimì, who fall in love at first sight, together with their friends Marcello, Colline and Schaunard, who live on the margins of society and create through art, friendship and infatuation a space where reality is kept at bay.

Mimì is a first for Victoria. She last sang the title role in Stefan Herheim’s The Cunning Little Vixen in Oslo, which brought her standing ovations and a Hedda Award for Best Musical Theatre Performance, and has previously sung Musetta in La bohème at the Staatsoper Berlin.

Victoria sings on October 31, November 3 and 12, December 29 and 31, and January 5 and 16.

Represented by Sofia Rukin (@sofia_rukin.tact4art) by @tact_artists_management

We are delighted to welcome Pavel Petrov (@pavel.petrov.tenor) to our management roster. The tenor is the winner of the 2018 Operalia competition in Lisbon and received the Best Main Male Role prize at the Austrian Musiktheaterpreis for his portrayal of Lensky in Eugene Onegin at Oper Graz.

Among his recent and upcoming highlights are role debuts as Faust in La Damnation de Faust and Il Duca di Mantova in Rigoletto, Rodolfo in La bohème at Oper Graz, Ismaele in Nabucco with the Israeli Opera, and a debut as Lensky at the Staatsoper Hamburg. He has also sung Tamino in Die Zauberflöte at Lyric Opera of Chicago, Opéra national de Paris, Wiener Staatsoper and Semperoper Dresden, and Alfredo in La traviata at Arena di Verona.

We are happy to begin this collaboration with Pavel Petrov and look forward to supporting him in his international career.

Represented by Valeriy Serkin (@valeriyserkin) by @tact_artists_management

Azim Karimov (@azim__karimov) conducts Mozart’s Die Zauberflöte at the Deutsche Oper am Rhein (@operamrhein) on October 31, his first performance as First Kapellmeister of the company.

This season, Azim conducts seven productions at the Deutsche Oper am Rhein: Die Zauberflöte, Rossini’s Il barbiere di Siviglia, Puccini’s Tosca and Manon Lescaut, Mozart’s Le nozze di Figaro, Die verzauberte Stadt and Verdi’s Il trovatore. He has previously conducted at the company in Puccini’s Tosca and Tchaikovsky’s Eugene Onegin.

This Die Zauberflöte staging was created for the Komische Oper Berlin, where it premiered in 2012 as a collaboration between Barrie Kosky and the British theatre company 1927 (Andrade and Barritt).

Since the 2022/23 season, Azim Karimov has been a conductor at the Bayerische Staatsoper, where he has led Die Passagierin and The Nutcracker, as well as symphonic concerts and recordings. He has also been musical assistant to General Music Director Vladimir Jurowski since 2023.

Azim Karimov is represented by Adrian Lavía (@adrianlaviatact) and Alex Grigorev (@alexgrigorevtact) by @tact_artists_management

Katharina Morin (@katharina.morin.official) conducts the Orchestre national Montpellier (@opera_orchestre_montpellier) in the Halloween Concert on October 30 at the Opéra Comédie in Montpellier.

The program runs from the incandescent Sabre Dance from Khachaturian’s Gayaneh to the breathless chase from Bartók’s The Miraculous Mandarin. In between, the orchestra performs Nielsen’s Aladdin Suite, Gounod’s Funeral March of a Marionette, the waltz, mazurka and galop from Khachaturian’s Masquerade Suite, the Polovtsian March from Borodin’s Prince Igor, the polka from Shostakovich’s The Golden Age, Johann Strauss II’s Egyptian March, two dances from Holst’s The Perfect Fool and the march from Prokofiev’s The Love for Three Oranges.

Katharina Morin is represented by Adrian Lavía (@adrianlaviatact) by @tact_artists_management

Mauro Peter (@mauropetertenor) returns to London’s Wigmore Hall (@wigmore_hall) on October 31, in a recital with the Grammy Award-winning mezzo-soprano Fleur Barron and the pianist Joseph Middleton.

The program looks at humankind’s relationship with the natural world and the poetry that grew out of a new reverence for nature in the Enlightenment. It moves from Schubert’s songs about dusk, night and the earth, including Im Abendrot, Nachtstück and Die Mutter Erde, to Mahler’s songs from the Lieder und Gesänge and the Rückert-Lieder, and ends with “Der Abschied” from Das Lied von der Erde. Between them are works by Britten and Crumb, a Britten boogie-woogie, and Crumb’s Primeval Sounds for solo piano, as well as an adagio from one of Bach’s concerto transcriptions.

Mauro Peter is represented by Oliver Kretschmer (@oli_finsterwald) by @tact_artists_management

We are delighted to welcome Aebh Kelly (@aebhkellymezzo) to our management roster. Praised for her “beautiful dark mezzo timbre” (Forum Opera) and her “flawless technique, great high notes, and the ability to expand dramatically” (Online Merker), the Dublin-born Irish mezzo-soprano is a member of the ensemble at Staatsoper Hamburg.

Kelly first gained international recognition as a finalist at the Neue Stimmen competition in 2019, and her other awards include Second Prize at the 2022 Veronica Dunne International Singing Competition, the Dublin Song Series Prize and the Dermot Troy Prize.

The 2026/27 season brings major house debuts at the Bayerische Staatsoper as Clotilde in Norma, at the Opéra national de Paris as Nancy Tang in John Adams’ Nixon in China, and, in summer 2027, at Teatro alla Scala, again as Nancy Tang. In Hamburg, her roles this season include Cherubino in Le nozze di Figaro, Dido in Dido and Aeneas, Mercédès in Carmen, and Rossweiße in Die Walküre.

We are happy to begin this collaboration with Aebh Kelly and look forward to supporting her in her international career.

Aebh Kelly is represented by Oliver Kretschmer (@oli_finsterwald) and Samuel Levine (@samuel.levine.tact4art) by @tact_artists_management

Timo Riihonen (@timoriihonenbasso) sings Fafner in the new production of Wagner’s Siegfried at the Bayerische Staatsoper (@bayerischestaatsoper) premiering October 29. Vladimir Jurowski conducts Tobias Kratzer’s staging, the latest installment of the company’s new Ring cycle, in which Timo also sang Fafner in Das Rheingold.

Timo has sung Fafner in Siegfried before, as a member of the Oper Kiel ensemble. In Wagner’s story, Fafner is the giant who killed his brother for the ring and then turned into a dragon to guard it, until Siegfried arrives in the second act.

Further performances are on November 1, 4, 7 and 10.

Timo Riihonen is represented by Valeriy Serkin (@valeriyserkin) by @tact_artists_management

Tomorrow, 28 October, conductor Marta Kluczyńska (@marta.kluczynska) and soprano Joanna Zawartko (@joannazawartko) take part in the Gala of Polish Composers at Teatr Wielki in Poznań (@operapoznan), the closing event of the Moniuszko Festival. Marta leads the Orchestra and Chorus of the Teatr Wielki, while Joanna sings arias from Moniuszko's Halka and Dworzaczek's Żywila, and takes the title role in the first act of Jarecki's rarely performed Jadwiga, królowa polska.

The concert is devoted to rarely performed works from the Polish operatic repertoire of the 19th and 20th centuries, and it concludes the festival run by artistic director and baritone Szymon Mechliński, who has made the rediscovery of forgotten Polish composers a signature of the Poznań house.

Marta Kluczyńska is represented by Pawel Marciniak (@pawelmarciniak) and Alex Grigorev (@alexgrigorevtact), and Joanna Zawartko is represented by Sofia Rukin (@sofia_rukin.tact4art) by @tact_artists_management

Anna Skryleva (@skrylevanna) conducts Barrie Kosky’s production of Tchaikovsky’s Eugene Onegin at the Komische Oper Berlin (@komischeoperberlin) with Maya Gour (@maya.yahav.gour) as Olga, starting October 24 at the Schillertheater.

Kosky’s staging, a co-production with the Zurich Opera House, has been in the company’s repertoire since 2016. Hubert Zapiór sings the title role, Penny Sofroniadou is Tatyana and Pavel Valuzhin is Lensky.

The production marks Anna’s house debut. A conductor, composer and pianist, she was General Music Director of the Theater Magdeburg from 2019 to 2025 and won the Opus Klassik Award in 2024 for the world premiere recording of Eugen Engel’s Grete Minde. She recently made her debut with Opera Australia, also in Eugene Onegin.

Maya also makes her Komische Oper debut. The Israeli-Portuguese mezzo-soprano, a former member of the Dutch National Opera Studio and of the Oper Köln ensemble, has sung Cherubino, Hänsel, Maddalena and Flora, and was a grand finalist at the 2023 Tenor Viñas Competition. She recently sang Olga, Tatyana’s lively sister and Lensky’s fiancée, in Leipzig.

Anna Skryleva is represented by Sofia Rukin (@sofia_rukin.tact4art), Alex Grigorev (@alexgrigorevtact) and Adrian Lavía (@adrianlaviatact)

Maya Gour is represented by Sofia Rukin by @tact_artists_management

We are happy to welcome Madrid-born tenor Joel Prieto (@joelprieto.official) to the TACT management roster. He won First Prize at Plácido Domingo’s Operalia Competition in 2008 and has since appeared at the Royal Opera House Covent Garden, the Bolshoi Theatre, the Opéra national de Paris and the Salzburg Festival.

Recent seasons have taken him from Mozart and bel canto into the full lyric repertoire, with Don José in Carmen becoming a signature role. He performed the title role in the world premiere of El caballero de Olmedo at the Teatro de la Zarzuela in Madrid.

In the 2026/27 season, he makes his debut at the Opéra national de Lorraine in Nancy as Cassio in Verdi’s Otello and debuts at the Royal Swedish Opera in Verdi’s Messa da Requiem.

We are glad to begin this collaboration with Joel Prieto and look forward to supporting him in his international career.

Joel Prieto is represented by TACT in Spain, Portugal and Latin America.

Represented by Emanuele Destrini (@e.destrini) by @tact_artists_management

Joanna Zawartko (@joannazawartko) sings the title role in Puccini’s Madama Butterfly at the Teatr Wielki – Polish National Opera in Warsaw (@operanarodowa), on October 22 and 30 and November 21. The Polish soprano has also sung Cio-Cio-San before at the Landestheater Linz.

Directed by Mariusz Treliński with sets by Boris Kudlička, the production premiered in 1999 and is regarded as a turning point for Polish opera. Plácido Domingo praised it as one of the most beautiful opera performances he had seen, and brought it to Washington. It has since been staged at the Mariinsky Theatre, the Palau de les Arts in Valencia, the Israeli Opera in Tel Aviv, the Teatro Lirico di Cagliari and the Royal Opera House Muscat.

Joanna Zawartko is represented by Sofia Rukin (@sofia_rukin.tact4art) by @tact_artists_management

Katia Ledoux (@ladoucelette) sings Mama Morton in the new production of Kander and Ebb’s Chicago at the Volksoper Wien (@volksoper). The dress rehearsal is on October 21, the preview on October 22, and the premiere on October 24. Gareth Valentine conducts, and Lotte de Beer directs.

Katia has been a member of the Volksoper ensemble since 2022. In early 2023 she made international headlines when she took over the title role in Orpheus in the Underworld at short notice, replacing an ill colleague while also singing her own part. She joins Bettina Mönch as Roxie Hart, Myrthes Monteiro as Velma Kelly and Lionel von Lawrence as Billy Flynn.

In de Beer’s staging, the story of the 1920s murderess-turned-celebrity unfolds as Brechtian storytelling, showing how the media spins scandal into stardom. The show is sung in English and spoken in German, with subtitles in both languages.

Katia Ledoux is represented by Olivier Lallouette (@lallouetteolivier) by @tact_artists_management