News

back to top

Biography 868 words

Download biography as pdf Download biography as word doc

  A recent graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and a recipient of a 2012 Leonore Annenberg Fellowship in the Performing and Visual Arts, Paul Appleby has emerged as one of the most inspired voices of his generation and is both an admired and exciting presence on the world’s leading concert, recital, and opera stages. Mr. Appleby’s 2013 summer engagements included his debut with the Santa Fe Opera as Fritz in Offenbach’s The Grand Duchess of Gerolstein, a vocal recital in August presented by the Santa Fe Concert Association with SFCA Executive and Artistic Director Joseph Illick on piano, and a concert performance of Britten’s Les Illuminations at Maverick Concerts in Woodstock, New York. Operatic engagements in the 2013-14 season include a return to the Metropolitan Opera singing Brian in a new production and company commissioned premiere of celebrated American composer Nico Muhly’s Two Boys, and reprising the role of Ferrando in Mozart’s Così fan tutte with the Canadian Opera Company (company debut), Johannes Debus conducting, and with Oper Frankfurt, Hartmut Keil conducting. Mr. Appleby also makes his company debut with the Washington

read more...

 


A recent graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and a recipient of a 2012 Leonore Annenberg Fellowship in the Performing and Visual Arts, Paul Appleby has emerged as one of the most inspired voices of his generation and is both an admired and exciting presence on the world’s leading concert, recital, and opera stages.

Mr. Appleby’s 2013 summer engagements included his debut with the Santa Fe Opera as Fritz in Offenbach’s The Grand Duchess of Gerolstein, a vocal recital in August presented by the Santa Fe Concert Association with SFCA Executive and Artistic Director Joseph Illick on piano, and a concert performance of Britten’s Les Illuminations at Maverick Concerts in Woodstock, New York. Operatic engagements in the 2013-14 season include a return to the Metropolitan Opera singing Brian in a new production and company commissioned premiere of celebrated American composer Nico Muhly’s Two Boys, and reprising the role of Ferrando in Mozart’s Così fan tutte with the Canadian Opera Company (company debut), Johannes Debus conducting, and with Oper Frankfurt, Hartmut Keil conducting. Mr. Appleby also makes his company debut with the Washington National Opera, singing Tamino in Mozart’s The Magic Flute, Philippe Auguin conducting. Concert appearances include works by Britten as part of Carnegie Hall’s “Britten Discovery Day” with pianist Natalia Katyukova, a recital at Pace University with pianists Ken Noda and Brian Zeger, and a joint recital with baritone Joshua Hopkins and pianist Natalia Katyukova presented by the Washington National Opera at the Kennedy Center for the Performing Arts.

The 2012-13 season included two productions with the Metropolitan Opera - as the Chevalier de la Force in Poulenc’s Dialogues des Carmélites conducted by Louis Langrée and as Hylas in Les Troyens conducted by Fabio Luisi. Mr. Appleby also made his debut with Boston Lyric Opera as Ferrando in Così fan tutte directed by Sir Thomas Allen. Symphonic appearances included performances of the Mozart Requiem with Manfred Honeck and the Pittsburgh Symphony, in Pittsburgh and on tour to Vienna, and Beethoven’s Mass in C Major with Mr. Langrée and the Mostly Mozart Festival Orchestra.

Past highlights include: for the Metropolitan Opera, singing Demetrius in the Baroque pastiche, The Enchanted Island, conducted by William Christie and directed by the team of Phelim McDermott and Julian Crouch, his debut as Brighella in Ariadne auf Naxos under the baton of Fabio Luisi, a National Council Grand Finals Concert, and  the role of Jenik in The Bartered Bride in a co-production between the Metropolitan Opera and the Juilliard School conducted by James Levine and directed by Stephen Wadsworth; a European operatic debut as Tom Rakewell in The Rake’s Progress with Oper Frankfurt in a new production by Moritz Nitsche conducted by Constantinos Carydis; Agenore in Il Re Pastore with Opera Theatre of St. Louis under the baton of Jean-Marie Zeitouni; Lysander in A Midsummer Night’s Dream conducted by Steven Osgood at Wolf Trap Opera, and Gomatz in Zaïde, first at Wolf Trap Opera conducted by Gary Thor Wedow and then at Carnegie Hall with Ensemble ACJW conducted by David Robertson. Symphonic debuts include Mozart’s Mass in C Minor with the New York Philharmonic conducted by Alan Gilbert, and a program of opera arias with the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern conducted by Christoph Poppen. Mr. Appleby made his European debut in a performance of Haydn’s Die Schöpfung at the Wolfegg Festival under the baton of Manfred Honeck and a Cincinnati Symphony Orchestra debut in Bach’s St. Matthew Passion conducted by James Conlon at the May Festival. Other recent debuts include a program of Schubert and Haydn with the Saint Paul Chamber Orchestra conducted by Thomas Zehetmair, and Beethoven's Christus am Ölberge with Kent Tritle on the Sacred Music in a Sacred Space series at the Church of St. Ignatius Loyola, New York.

Passionate about the art of song, the tenor has performed recitals with Steven Blier and the New York Festival of Song, at the Kennedy Center under the auspices of the Vocal Arts Society, for the Marilyn Horne Foundation, the Aspen Music Festival, the Caramoor Festival, Music@Menlo, the Judith Raskin memorial concert, the Joy in Singing Foundation, and A Prairie Home Companion. He made his Lincoln Center recital debut at Alice Tully Hall accompanied by Brian Zeger offering Schubert’s Die Schöne Müllerin.

In addition to the 2012 Leonore Annenberg Fellowship in the Performing and Visual Arts, Mr. Appleby has been recognized with the 2012 Top Prize by the Gerda Lissner Foundation, 2012 Martin E. Segal Award from Lincoln Center, 2011 Richard Tucker Career Grant and George London Foundation Award, and was a National Winner of the 2009 Metropolitan Opera National Council Auditions. A recipient of an Artist Diploma in Opera Studies at The Juilliard School, he has also received a Master’s Degree from Juilliard and a Bachelor’s Degree in English Literature and in Music from the University of Notre Dame.


 

back to top

Photos

back to top

Reviews

"“At 30, the tenor Paul Appleby is nearly double Brian’s age, but he slouches and flops and wears his baggy jeans and polyester windbreaker so convincingly, and sings the role with such guileless urgency that makes a vague character come alive. Appleby is a marvel: an intelligent young singer equipped with the elegance and expressivity of an old pro, impersonating a lost soul of a kid.” "

Justin Davidson, New York Magazine

"“Thirty-year-old Paul Appleby turned in a star-making performance as Brian, a troubled kid half his age, his Mozartian tenor ringing out with anguished authority.”"

James Jorden, New York Post

"“Appleby’s beautiful reading of “Un aura amorosa” with his warm, sensitive tenor suddenly brought heart to the proceedings.”"

Angela Mao, Boston Classical Review

""Tenor Paul Appleby turned in a star-making performance as a troubled teen..." (Two Boys) "

James Jorden, New York Observer

"“Appleby, who already has Met credits, unfurled a strong lyric tenor with powerful high notes and a real sense of theater in his solo aria and spoken declamation.” "

Lawrence Budman, South Florida Classical Review

"“One of the surprising highlights of this epic opera is the simple, homesick song of the young sailor Hylas, beautifully performed here by the sweet-voiced tenor Paul Appleby.”"

Anthony Tommasini, New York Times

"“As Gomatz, tenor Paul Appleby give a strong characterization. Appleby was at his best in the spoken melodrama from Act I, in which he bemoans his bitter fate at seeing Zaide interred in the Sultan's harem. His is a fine tenor voice. Sadly, the extant musical numbers for his character tended toward the surface and the silly, thus not allowing Appleby to show us the depth or range one suspects he has.”"

Arlo McKinnon, Opera News

"“Particularly impressive was….the gutsy, firm-toned Jeník of Paul Appleby.”"

Martin Bernheime, Opera

"“To me, once Paul Appleby started singing, no one else had a hope of catching my attention. He IS everything a singer should be and HAS everything a singer should have: charisma, a fantastic voice, physical energy and strength, good looks, cheekiness and humor, flexibility, and above all else, an understated humility about his remarkable ability to convey intimate emotions. I was taken in by every note he sang.”"

Kala Maxym, Opera Insider

"“Mr. Appleby has certainly developed his own sonorous voice, which he skillfully used to present the song cycle on Tuesday night for an enthusiastic audience at Alice Tully Hall…Mr. Appleby sang with a nuanced, expressive and bright-hued tenor.”"

Vivien Schweitzer, New York Times,

""