Jacob Skov Andersen
Danish opera singer Jacob Skov Andersen was born and raised in Copenhagen. His musical career started at the young age of 9 when he was admitted to the singing school Sankt Annæ Gymnasium. Consequently, several years as a boy singer followed in the Copenhagen Royal Chapel Choir, which cemented his interest in singing and music.
Jacob is currently enrolled at the Opera Academy at the Royal Danish Theatre under principal and singing teacher Anne Margrethe Dahl. In parallel with his studies Jacob has received tutoring from the internationally recognized tenor Reinaldo Macias and former professor at the Guildhall School of Music & Drama Susan McCulloch. He has already made a name for himself on several occasions and is the recipient of the Roager Foundation’s 2019 talent awardand Edith Aller’s memorial Scholarship 2019. From next season he is included in the new and prestigious 2-year Young Artist Program at the Royal Theater, where he will participate in several productions, but already in the 2019/2020 season he can be experienced at the Royal Theater on stage on three occasions, in the roles of: Stimme eines Jungen Seemannes and Ein Hirt in 'Tristan und Isolde' by R. Wagner, Gastone in 'La Traviata' by G. Verdi and as Luke in 'The Handmaid’s Tale' by P. Ruders.
Jacob has already sung lead roles on the Danish opera scene: By February 2020 Jacob will have his debut as Leander in C. Nielsen’s 'Maskarade' with Helsingør Chamber Opera, and in August Jacob had his debut as Rodolfo in G. Puccini’s beloved masterpiece ‘La Boheme’ at Copenhagen Opera Festival 19’. And in recent years Jacob has among others played the male lead of Prince Paris in the Operetta Company Polyhymnia’s production of J. Offenbach’s ‘La Belle Hélène’ as well as in The Royal Theatre’s huge success 'Amadeus', which played 34 sold out performances. Jacob often performs as a soloist in opera concerts and oratorios, and he has among others sung the demanding tenor part in Rossini's ‘Petit Messe Solenelle’, tenor soloist in Mozart's ‘Requiem’, in Haydn's ‘Stabat Mater’ and several times in Händel's ‘Messiah’.