Born in Brooklyn, NY
Family moves to Seattle, WA
Sees Janos Starker play in concert. Begins Cello lessons.
Sees Puccini’s TURANDOT at the Seattle Opera, which is a life changer. Starts to play the piano and learns opera scores.
Sings the role of the Boy in Puccini’s LA BOHÈME at the Seattle Opera.
Sees Wagner’s DIE WALKÜRE at the Seattle Opera and starts to develop a passion for his music.
Starts employment at the Seattle Opera as a pianist/coach for Wagner’s DER RING DES NIBELUNGEN, which he does for six seasons.
Attends the Eastman School of Music.
Becomes a pianist/coach at the Santa Fe Opera, specializing in the operas of Richard Strauss, and working closely with founder John Crosby.
Graduates Eastman. Plays senior piano recital with the Liszt Sonata as the major work.
Becomes a pianist/coach at the San Francisco Opera, specializing in Wagner's RING Cycle, assisting Edo de Waart.
Becomes a pianist/coach at the Chicago Lyric Opera, assisting Maestri such as Bruno Bartoletti, Marek Janowski, and James Conlon.
Becomes a pianist/coach/assistant conductor at the Metropolitan Opera, assisting James Levine, among others.
Appears on stage at the Metropolitan Opera as the Tavern Pianist in Act III of Berg’s WOZZECK, and soon after plays the piano in the pit with the Met Orchestra for the Met’s first ever performances of Gershwin’s PORGY AND BESS, both with James Levine conducting.
Does musical preparation and is cover conductor for a special festival series of three Richard Strauss operas, arranged by Matthew Epstein and presented in Carnegie Hall, including CAPRICCIO, INTERMEZZO and DAPHNE, assisting Jeffrey Tate and Andrew Davis, among others.
Assists Zubin Mehta at the Maggio Musicale Fiorentino (DIE MEISTERSINGER, TOSCA and GURRELIEDER).
Assists Daniel Barenboim at the Bayreuth Festival (TRISTAN UND ISOLDE, PARSIFAL, DER RING DES NIBELUNGEN).
Makes his conducting debut at the San Francisco Opera in Gounod’s FAUST.
Assists Leonard Bernstein on his recording of Puccini’s LA BOHÈME with the Orchestra dell’Academia Nationale di Santa Cecilia in Rome.
Makes his conducting debut at the Chicago Lyric Opera with Mozart’s COSI FAN TUTTE.
Is chosen by Leonard Bernstein to be one of three young conductors to conduct the Chicago Symphony Orchestra in a special pair of concerts, where he conduct's Strauss' TOD UND VERKLÄRUNG.
Makes his conducting debut at the Santa Fe Opera in Verdi’s LA TRAVIATA.
Takes over at short notice from Seiji Ozawa and conducts a concert of opera scenes with Mirella Freni, Petr Dvorský and the Boston Symphony.
Makes his debut at Oper der Stadt Köln in Puccini’s MANON LESCAUT.
Makes his conducting debut at the Australian Opera with Puccini’s TURANDOT, with Grace Bumbry singing the title role.
Makes conducting debut at the Seattle Opera in Puccini’s LA BOHÈME, 20 years after singing "The Boy" on the very same stage. This was also his first opportunity to work with his father, George Fiore, who was the Seattle Opera's legendary Chorus Master.
Makes conducting debut at the Metropolitan Opera in Verdi’s LA TRAVIATA.
Makes his debut at the Dresden Semperoper in Verdi’s LA TRAVIATA, there starting a close relationship with the Staatskapelle Dresden.
Makes his conducting debut at the National Opera of Bordeaux with Verdi’s RIGOLETTO, and then takes over concert performances of Verdi’s OTELLO at a week’s notice.
Conducts the Met Premiere of Dvořák’s RUSALKA, the first time this opera had ever been performed there.
Conducts the first staged version of Berlioz’ LES TROYENS at the Australian Opera, the first in this country’s history.
Makes his debut at the Bayerische Staatsoper with DER FLIEGENDE HOLLÄNDER.
Conducts Debussy’s PELLÉAS ET MÉLISANDE at Opera Australia in Sydney and Melbourne, the first in this country’s history.
Becomes Chief Conductor of The Deutsche Oper am Rhein in Düsseldorf and Duisburg, his first production being Wagner’s DIE MEISTERSINGER VON NÜRNBERG.
Becomes the General Music Director of the Düsseldorfer Symphoniker.
Conducts Schoenberg’s massive GURRELIEDER with the Düsseldorfer Symphoniker and the Musikverein zu Dusseldorf.
Goes on a two week China Tour leading the Düsseldorfer Symphoniker in works including Beethoven’s 7th Symphony and Schumann’s 2nd Symphony.
The Deutsche Oper am Rhein does a tour to the Savonlinna Festival in Finland, where he conducts DIE MEISTERSINGER and DER ROSENKAVALIER back to back, six nights in a row.
Conducts the World Premiere of Bright Sheng’s MADAME MAO at the Santa Fe Opera.
Conducts his first complete RING at the Deutsche Oper am Rhein.
Conducts the World Premiere of Christian Jost’s VIPERN at he Deutsche Oper am Rhein.
Conducts the complete RING Cycle at the National Theater in Prague, the first production since the Second World War (co-production with the Deutsche Oper am Rhein).
Conducts Mahler’s Eighth Symphony in his final concert as General Music Director with the Düsseldorfer Symphoniker and the Musikverein zu Dusseldorf.
Conducts 17 operas in his final season as Chief Conductor at the Deutsche Oper am Rhein, including the complete RING, DIE FRAU OHNE SCHATTEN, RUSALKA, PELLÉAS ET MÉLISANDE, and a 5-day Janáček festival with five different operas (JENŮFÁ, KATA’ KABANOVA, THE CUNNING LITTLE VIXEN, THE MAKROPULOS CASE, and THE HOUSE OF THE DEAD).
Becomes Music Director of The Norwegian Opera and Ballet in Oslo.
Makes his debut with the Grand Théâtre de Genève conducting Wagner’s PARSIFAL, starting a long relationship with that theatre and the Orchestre de la Suisse Romande.
Conducts the first ever performances of Berg’s LULU at the Norwegian Opera.
Returns to the Savonlinna Festival, this time with the Norwegian Opera, conducting Britten’s PETER GRIMES.
Makes his debut at the Swedish Royal Opera on a day’s notice to conduct Giordano’s ANDREA CHÉNIER.
Becomes a freelancer and moves to Geneva, Switzerland.
Conducts a run of Mascagni’s CAVALLERIA RUSTICANA and Leoncavallo’s PAGLIACCI at the Deutsche Oper Berlin, starting a fruitful relationship there.
Conducts the first performance ever of Berlioz’ LES TROYENS at the Dresden Semperoper.
Returns to the Seattle and Santa Fe Operas for AIDA and MADAMA BUTTERFLY, respectively.
Makes his debut at the Gran Teatre del Liceu in Barcelona with Puccini’s TOSCA.
Makes his debut at the Washington National Opera at the Kennedy Center with Saint-Saëns' SAMSON ET DALILA.
Ends up taking over most of a run of Wagner's DIE MEISTERSINGER at the Deutsche Oper Berlin, after Sir Donald Runnicles has to withdraw, which is broadcast and filmed for DVD.