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Grammy-award winning Canadian baritone Gerald Finley has become one of the leading singers and dramatic interpreters of his generation, with award-winning performances and recordings on CD and DVD with major labels and performing at the world’s major opera and concert venues in a wide variety of repertoire. In opera, Mr Finley has sung all the major baritone roles of Mozart. His Don Giovanni has been seen in New York, London, Paris, Salzburg, Munich, Rome, Vienna, Prague, Tel Aviv, Budapest and Glyndebourne, which has been released on DVD. As the Count in Le nozze di Figaro, his appearances include the Royal Opera Covent Garden (Opus Arte DVD), Salzburg Festival (2007, 2009), Paris, Vienna and Amsterdam. This past season, he made his debut as Don Alfonso at the Salzburg Festival. At the New York Met his roles include Don Giovanni, Count Almaviva, Golaud and Marcello. Critical successes also include Eugene Onegin and Golaud at Covent Garden, Iago in Otello with Sir Colin Davis and the LSO, the title role in Guillaume Tell with Accademia di Santa Cecilia and Sir Antonio Pappano and his debut performances as Hans Sachs at the Glyndebourne Festival, recently released on DVD. In contemporary opera, Mr Finley has

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Grammy-award winning Canadian baritone Gerald Finley has become one of the leading singers and dramatic interpreters of his generation, with award-winning performances and recordings on CD and DVD with major labels and performing at the world’s major opera and concert venues in a wide variety of repertoire.

In opera, Mr Finley has sung all the major baritone roles of Mozart. His Don Giovanni has been seen in New York, London, Paris, Salzburg, Munich, Rome, Vienna, Prague, Tel Aviv, Budapest and Glyndebourne, which has been released on DVD. As the Count in Le nozze di Figaro, his appearances include the Royal Opera Covent Garden (Opus Arte DVD), Salzburg Festival (2007, 2009), Paris, Vienna and Amsterdam. This past season, he made his debut as Don Alfonso at the Salzburg Festival. At the New York Met his roles include Don Giovanni, Count Almaviva, Golaud and Marcello.

Critical successes also include Eugene Onegin and Golaud at Covent Garden, Iago in Otello with Sir Colin Davis and the LSO, the title role in Guillaume Tell with Accademia di Santa Cecilia and Sir Antonio Pappano and his debut performances as Hans Sachs at the Glyndebourne Festival, recently released on DVD. In contemporary opera, Mr Finley has excelled in creating leading roles, most notably Howard K. Stern in Mark Anthony Turnage’s Anna Nicole at Covent Garden and J. Robert Oppenheimer in John Adam’s Doctor Atomic (New York Met, ENO London, San Francisco, Chicago and Amsterdam), as Harry Heegan in Turnage’s The Silver Tassie at ENO, and Jaufré Rudel in Kaija Saariaho’s L’amour de loin for the much-acclaimed premieres in Santa Fe, Paris and Helsinki.

Most recent concert appearances included Chou en Lai in Nixon in China with the BBC Symphony at the BBC Proms 2012, Brahms’ Requiem with the Concertgebouw Orchestra Amsterdam, a tour of Schoenberg’s A Survivor From Warsaw with Andris Nelsons and the Bavarian Radio Symphony Orchestra, Mahler’s Wunderhorn Lieder with the Czech Philharmonic, Alexander’s Feast by Handel under the baton of Nikolaus Harnoncourt at Vienna’s Musikverain, and Les espaces du sommeil with the Los Angeles Philharmonic Orchestra conducted by Esa-Pekka Salonen.

Gerald Finley also recently sang Don Giovanni at the Bavarian State Opera, Il prigioniero with the New York Philharmonic Orchestra and concluded the 2012/13 season as Don Alfonso in Cosi fan tutte at the Salzburg Festival.

As a recitalist, he works regularly with Julius Drake. This season includes a residency at the Wigmore Hall, as well as recitals in Alicante and at New York’s Zankel Hall as part of a US tour of Schubert’s Winterreise.

Mr Finley’s many solo recital CD releases have been devoted to songs of Barber, Ives, Ravel and Schumann’s song cycles “Dichterliebe and other Heine settings” and “Liederkreis Op. 24 & 39”. With a continuing partnership with Julius Drake on the Hyperion label, these have been critically acclaimed, including an unprecedented third Gramophone Award in the 'Solo Vocal' category for "Songs and Proverbs of William Blake" by Benjamin Britten. This season sees the release of Schubert’s Winterreise , as well as songs for bass voice by Liszt.
In 2012 the DVD release of John Adam’s Doctor Atomic in which Gerald Finley appeared as J. Robert Oppenheimer was awarded the Grammy for ‘Best Opera Recording’.

His 2013/14 concert season includes a tour of Berlioz’ Romeo et Juliette with the Philharmonia Orchestra, Il prigioniero with the Bavarian Radio Symphony Orchestra both with Esa-Pekka Salonen conducting, Shostakovich in Helsinki under the baton of Sanderling, Haydn’s Creation with the London Symphony Orchestra, Beethoven’s 9th Symphony with the Concertgebouw Amsterdam and the London Philharmonic Orchestra as well as a Mahler tour with the Mahler Chamber Orchestra and Vladimir Jurowski. On the opera stage, Gerald Finley will make his role debut as Amfortas in Parsifal at the Royal Opera House Covent Garden where he will return later in the season as Count Almaviva in Le nozze di Figaro. He can also be seen as Forester in Cunning Little Vixen at the Vienna State Opera and as Count Almaviva in Le nozze di Figaro at the Munich State Opera.

He will give masterclasses this season at the Guildhall School of Music and Drama and at the Royal College of Music where he is a Fellow and Visiting Professor, as well as working with the Jette Parker Young Artists’ Program at the Royal Opera, Covent Garden.

Gerald Finley, born in Montreal, began singing as a chorister in Ottawa, Canada, and completed his musical studies in the UK at the Royal College of Music, King’s College, Cambridge, and the National Opera Studio.

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Reviews

"Mr. Finley has long been recognized as a recitalist of rare versatility, a concert artist of the first rank and an opera singer of distinction in a broad repertory "

The New York Times

"Individual characters were sharp-etched. Gerald Finley's Peter, at first a shining light of dedication, his voice close-focused, wide-awake, would become a dark shadow of remorse."

Hillary Finch, The TImes

"Finley is a marvel here, none of his beauty missing, but allowing us to hear the beauty disintegrate into the dark mists of Schubert’s most miraculous conception."

Steven Ritter, Audiophile Audition

"Mr. Finley and Mr. Drake delivered an intensely felt and richly shaded account of Schubert’s lovelorn and life-weary song cycle. Mr. Finley possesses a warm, glowing baritone with a generous low range and silken top notes, as well as a knack for spinning out long and smooth legato lines. But just as important, he is an intelligent and committed actor, and it was his attention to the individual color of Wilhelm Müller’s words and the psychological nuances of Schubert’s setting of them that made his performance so compelling."

Schubert's Winterreise at Zankel Hall with Julius Drake, The New York Times

"Finley manages to bring a dimension of nobility to Amfortas's sufferings"

The Guardian

""...a beautiful pendant to Finley and Drake's 2008 album of Dichterliebe.""

Gerald Finley and Julius Drake: "SCHUMANN: Liederkreis, Op. 24 & 39" - Opera News, William R. Braun

"After a life-long referral as a critic you think, you know Schubert’s “Winterreise”. […] But the Canadian baritone Gerald Finley and Julius Drake, his British accompanist reinvent "Winterreise", with a provocative, almost serene calm that savors the Wanderers pain in detail as if under a magnifying glass while suffering with him. […] And of course with his dream voice, a wonderfully full, seamless baritone, which he takes back often and lets only blossom into full size during dramatic moments ("Die Nebensonnen"). "

Schubertiade - Fritz Jurmann, Voralberger Nachrichten

"I found Finley's account of these five songs quietly gripping. It seemed to combine those most unlikely partners, assuredness and frailty. When appropriate, he could produce a ghostly, almost bodiless head-voice. In more animated moments his tone was effortlessly strong and rich. The final bars [...] were haunting."

Brahms' German Requiem, Usher Hall - Alan Coady, bachtrack.com

"Gerald Finley, in a powerfully controlled yet emotional performance [...], cut to the heart of the music..."

Brahms' German Requiem, Glasgow Royal Concert Hall - Michael Tumelty, heraldscotland.com

"[The words] were sung [...] by the baritone Gerald Finley [...] whose understanding of their quiet, autumnal ecstasy was palpable in a performance heaped with throbbing tenderness and sublime passion."

Brahms' German Requiem, Edinburgh Usher Hall - Kenneth Walton, Scotsman.com

"Finley's tone was velvety smooth, and his projection and characterisation impeccable. "

Andrew Clements, The Guardian

"In the title role, baritone Gerald Finley is at the top of his game. [Re: CD Reviews: Rossini - William Tell, EMI Classics June 2011] "

BBC Music Magazine

"...aided by the Hans Sachs of Gerald Finley that at times touches the heights of mastersinging, in a performance that is the complete package. His bass-baritone sound, warm, lyrical, intensely expressive (helped as well by his superb German diction) is complemented by an onstage character who becomes immensely sympathetic as the evening progresses. Finley illustrates and conveys all this with natural ease, moving beautifully, and singing the role as thrillingly as I have ever heard it. Finley’s voice is not only big enough, it is noble, resonant (his bass extension is particularly fine in the Glyndebourne acoustic) and utterly right for the part. His ovation at the end told its own story... a debut performance by Finley, who will surely become the Hans Sachs of our times. [Re: Die Meistersinger von Nürnberg, Glyndebourne Festival Opera, May 2011]"

Mike Reynolds, MusicalCriticism.com

"His elegant baritone, which has gained in muscle since his Hans Sachs at Glydebourne in the summer, brought beauty as well as Nordic angst to the two Swedish songs and rose proudly to the lyrical grandeur of the epic 'Koskenlaskijan morsiamet'."

Richard Fairman, Financial Times

"William Walton's Belshazzar's Feast is English oratorio at its most unbuttoned. Baritone Gerald Finley delivered the solos with the clarity of an orator, and the visionary nobility of a prophet."

Nick Kimberley, London Evening Standard

"Only the endlessly expressive diction of Gerald Finley (rarely have consonants yielded so much distaste as his at the excess of the Babylonians) betrayed the work's unimpeachably British credentials."

Alexandra Coghlan,The Arts Desk

"Baritone soloist Gerald Finley was alert and sonorous...he has fully seized the opportunities offered by three of Sibelius's rarely heard orchestral songs."

George Hall, The Guardian

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Discography