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In the 2013/2014 season Garrett Sorenson returns to West Australian Opera as Rodolfo in La Bohème. At the Metropolitan Opera, where he is a graduate of the Lindemann Young Artists Program, he understudies the roles of The Prince in Rusalka, Lensky in Eugene Onegin, and Matteo in Arabella. Concert appearances include Mozart's Requiem with the Cleveland Orchestra under the baton of David Robertson. Recent highlights include his role debut as Cavaradossi in Puccini’s Tosca at Arizona Opera, a new production of Bedřich Smetana’s The Kiss at Opera Theatre of St. Louis, and his Broadway and West End debuts in Terrence McNally’s Master Class, opposite Tyne Daly. He has appeared in concert with the Boston Symphony, Cleveland Orchestra, San Francisco Symphony, Houston Symphony, and Baltimore Symphony, among others, under the batons of such conductors as Kurt Masur, James Levine, Michael Tilson Thomas, Franz Welser-Möst, and Giancarlo Guerrero.

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American Tenor Garrett Sorenson has been praised as an artist of unique interest, drawing critical acclaim for a rich lyric voice of beauty and power. Mr. Sorenson recently completed an extended run of Terrance McNally’s Master Class on Broadway opposite Tyne Daly, which was successfully transferred to London’s West End. The production received a 2012 Tony nomination for “Best Revival of a Play”. In the same season, his performance in Strauss’ Salome as Narraboth with the Cleveland Orchestra at Carnegie Hall was critically acclaimed for revealing “incipient heldentenor credentials with a fine Narraboth” by George Loomis of MusicalAmerica.com.

The 2013/2014 season saw Mr. Sorenson's return to West Australian Opera as Rodolfo in La Boèheme. He returns to the Metropolitan Opera to cover the roles of The Prince in Rusalka, Lensky in Eugene Onegin, and Matteo in Arabella. Concert appearances include Mozart's Requiem with the Cleveland Orchestra under the baton of David Robertson.

His 2012/2013 season opened with a role debut as Cavaradossi in Puccini’s Tosca marking his return to Arizona Opera. He then sang a new production of Bedřich Smetana’s The Kiss with Opera Theatre of St. Louis. Symphonic appearances included Beethoven’s Ninth Symphony with Giancarlo Guerrero conducting the Cleveland Orchestra in their residency at the Adrienne Arsht Center in Miami.

A Lindemann Young Artists Development Program graduate, Mr. Sorenson made his company debut at The Metropolitan Opera with Bellini’s rarely performed Il Pirata as Itulbo, opposite Renée Fleming. He later went on to perform Cassio in the opening night gala of Otello with James Levine conducting. Additional roles there include Da-Ud in a new production of Richard Strauss’s Die Ägyptische Helena starring Deborah Voigt and conducted by Fabio Luisi, Alfred in Die Feldermaus, Scaramuccio in Ariadne auf Naxos, Arturo in Lucia di Lammermoor, the Young Man in Die Frau ohne Schatten,, Shepherd in Tristan und Isolde, and the Youth in Moses und Aaron both conducted by James Levine.

In the same season, Mr. Sorenson made debuts at San Francisco Opera as Narraboth in Salome conducted by Nicola Luisotti, Lyric Opera of Chicago as Kudryas in Katya Kabanova (opposite Karita Mattila), Canadian Opera Company and West Australian Opera as Don Jose in Carmen. A member of the Santa Fe Opera Apprentice Program, Mr. Sorenson stepped in at the last minute for the title role of Werther in the Apprentice Showcase Scenes. He later returned to Santa Fe Opera to make his debut on the main stage in a new production of Strauss’ Daphne as Leukippos directed by Mark Lamos.

At Los Angeles Opera, Mr. Sorenson performed the Italian Tenor in Maximilian Schell’s new production of Der Rosenkavalier conducted by Kent Nagano. In addition to Don Jose he has sung Edgardo in Lucia di Lammermoor at West Australian Opera. Under Patrick Summers at Houston Grand Opera, he sang Rodolfo in La Bohème and Don Ottavio in Don Giovanni. At Opera Theatre St. Louis he has sung the title role in Les contes d’Hoffmann conducted by Stephen Lord and Sam Kaplan in Street Scene. At Arizona Opera he has sung the Duke of Mantua in Rigoletto and Don Jose in Carmen.

Other appearances of note include Boston Lyric Opera as Alfredo in La Traviata following his triumphant appearance as Lensky in Eugene Onegin there. He made his role debut as Pinkerton in Madama Butterfly with Indianapolis Opera, and sang the title role in Werther with Kentucky Opera opposite his wife Elizabeth Batton as Charlotte. His debut with Opera Colorado was as Alfredo in La Traviata and the title role in Faust with New Orleans Opera.

A consummate concert performer and recitalist, under the auspices of the Marilyn Horne Foundation Mr. Sorenson participated in “The Song Continues,” a week long series of performances and master classes at Carnegie Hall as well as concert appearances in St. Petersburg, Florida. The George London Foundation was also proud to host Mr. Sorenson in recital in New York City. Symphonic appearances include Beethoven’s Ninth Symphony with the Tanglewood Festival under the baton of Kurt Masur as well as at the Verbier Festival in Switzerland under the baton of James Levine and the San Francisco Symphony with Michael Tilson Thomas. In addition to Salome, Mr. Sorenson has also performed in Elektra with the Cleveland Orchestra under Franz Welser-Möst and with the New York Philharmonic in a program of Viennese music. He also sang a concert version of Simon Boccanegra with James Levine and the Boston Symphony Orchestra. Other notable symphonic appearances include Das Lied von der Erde with the South Dakota Symphony, Verdi’s Requiem with the Houston Symphony, and a concert of arias and duets with the Baltimore Symphony Orchestra.

Among his honors and awards, Mr. Sorenson was the winner of the Opera Birmingham Young Singer Contest and the Sorantin Young Artist Award. A finalist in the Loren L. Zachary Society Contest for Young Opera Singers, Mr. Sorenson was also named a winner at the 2003 George London Foundation Competition and a Sara Tucker Study Grant Winner.  In 2004 he was awarded the Richard Tucker Foundation Career Grant. Mr. Sorenson is a graduate of Texas Tech University, and currently resides in Kentucky with his wife Elizabeth Batton, his daughter, and two sons.

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Reviews

"Garrett Sorenson’s Lukas more than held his own against this adamant kiss-denier. He has a boyishly appealing demeanor and a hefty tenor of gleam and thrust. His technique is secure and free, and when he pours out the sound there is ample stentorian power on display. But Mr. Sorenson also did some ravishing, tormented phrases that he underplayed with moving results. Indeed, his overall excellence made me wonder (hope?): is a superb Peter Grimes possibly in our midst?"

Opera Today

"Tenor Garrett Sorenson’s blazing voice projected his lines with the greatest clarity of all cast members."

Examiner.com

"Garrett Sorenson revealed incipient heldentenor credentials with a fine Narraboth. "

George Loomis, MusicalAmerica.com

"Garrett Sorenson exuded ardour as Narraboth"

Martin Bernheimer, Financial Times

"Garrett Sorenson is a young tenor to be watched. His opening scene displayed a strong, full voice with no hint that he needed to ‘save it for the end’ where Verdi placed the famous and vocally demanding ‘La donna e mobile.’ Sorenson's acting had just enough of the duplicity of royalty toward women of the period to make one dislike the character but love the voice."

Donald J. Behnke, Green Valley News and Sun

"As the initially lighthearted, eventually remorseful Lieutenant Pinkerton, tenor Garrett Sorenson depended on his appealing voice to carry most of his insight into the role. Pinkerton is about more than ethnocentric bluster, and Sorenson's singing was able to convey his genuine regard for Butterfly, however shallowly rooted it may be."

Jay Harvey, indystar.com

"In his company debut, tenor Garrett Sorenson sang with ravishing intensity as the besotted captain Narraboth"

Joshua Kosman, San Francisco Chronicle

"Another pair of Lyric debutants, Lithuanian mezzo-soprano Liora Grodnikaite and tenor Garrett Sorenson, were fresh-voiced and appealing as the other, happier pair of lovers, Varvara and Kudrjas. "

John von Rhein, Chicago Tribune

"Completing Katya’s trifecta of tenors was Garrett Sorenson. Also making his Lyric debut, Sorenson was ideal as the cheerful Kudrjas, his attractive tenor making the most of his Act 2 folksong. "

Lawrence A Johnson, Chicago Classical Review

"The alternately drunk, sober, love-besotted, bereft and, finally, victorious Hoffmann is sung by Garrett Sorenson, whose full, clear tenor, wrings out every tune."

Lew Prince, River Front Times

"There was strong work from Garrett Sorenson as Cassio..."

Anthony Tommasini - The New York Times

"Garrett Sorenson, as Cassio, has a light, clear tenor that's a joy to hear.."

Colin Eatock– The Globe and Mail