When a baritone steps into Verdi territory, it’s a pretty big deal. A lot of new, exciting, and prolific roles open up and a whole new world emerges. There’s a lot to singing Verdi and with my first role as Germont, I’ve learned a great deal. Not only about this new fach but about this … More How I Role: My First Verdi | Germont

After 12 productions and 57 performances, I’ve come to learn a lot about Figaro, Figaro, Figaro. And yes, we’ve all seen the Bugs Bunny cartoon. Largo al factotum Boom! Singing Figaro is like getting shot out of a cannon! It starts out with the most challenging—and most recognizable—aria for baritones in the repertoire. Five sustained … More How I Role: Everyone’s Trusty Barber

  As the curtain parts, we see two Bohemians busy at work in their run-down Parisian loft. Rodolfo writes. Marcello paints his Red Sea. They have little means, but an artistically rich life. Though this opera is a love story, the loyalty between Rodolfo and Marcello is steadfast throughout, and serves as the premise of … More How I Role | The Loyal Bohemian Painter: Marcello

Here I am in the sunny Spanish countryside, about to sing my 6th production of Le Nozze di Figaro as The Count. I figured it was about time I gave my thoughts on the man that is loathed by the audience but much loved by his own self. I love having the chance to delve into … More How I Role | The Perfect Opera’s Imperfect Aristocrat: Count Almaviva

Out of all of my operatic repertoire, Don Giovanni is my most performed role. Everyone loves to hate this guy—even me!—because of his loose morals, reckless behavior, and seemingly unquenchable appetite for women. It’s definitely fun to play a character that’s so different than me, but the Don’s got his challenges, too. Let’s just say … More How I Role | My View On Opera’s Bad Boy: Don Giovanni