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Admired for his interpretive depth, vocal strength, and range of expressivity, rising star tenor Paul Appleby is one of the sought-after voices of his generation. Considered an exciting and charismatic presence on the world’s leading concert, recital, and opera stages, he recently was graduated from the Metropolitan Opera’s Lindemann Young Artist Development Program and received the 2012 Leonore Annenberg Fellowship in the Performing and Visual Arts. Following a summer season that included recital performances and a symphonic concert led by Leon Botstein at New York’s Bard Music Festival featuring a range of works by Franz Schubert, Paul Appleby’s 2014-15 season begins with concert performances with the Milwaukee Symphony singing the role of Don Ottavio in Mozart’s Don Giovanni under Edo de Waart. Engagements of note during the season also will include Mr. Appleby’s return to the Metropolitan Opera for David in Wagner’s epic comedy, Die Meistersinger von Nürnberg and as the lead role of Tom Rakewell in Stravinsky’s The Rake’s Progress, both conducted by James Levine.  The tenor makes his company debut singing Don Ottavio in the San Diego Opera

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Admired for his interpretive depth, vocal strength, and range of expressivity, rising star tenor Paul Appleby is one of the sought-after voices of his generation. Considered an exciting and charismatic presence on the world’s leading concert, recital, and opera stages, he recently was graduated from the Metropolitan Opera’s Lindemann Young Artist Development Program and received the 2012 Leonore Annenberg Fellowship in the Performing and Visual Arts.

Following a summer season that included recital performances and a symphonic concert led by Leon Botstein at New York’s Bard Music Festival featuring a range of works by Franz Schubert, Paul Appleby’s 2014-15 season begins with concert performances with the Milwaukee Symphony singing the role of Don Ottavio in Mozart’s Don Giovanni under Edo de Waart. Engagements of note during the season also will include Mr. Appleby’s return to the Metropolitan Opera for David in Wagner’s epic comedy, Die Meistersinger von Nürnberg and as the lead role of Tom Rakewell in Stravinsky’s The Rake’s Progress, both conducted by James Levine.  The tenor makes his company debut singing Don Ottavio in the San Diego Opera’s production of Don Giovanni, conducted by Daniele Callegari, and joins the Chamber Music Society of Lincoln Center on tour in a program of Johannes Brahms and Robert Schumann at the Ordway Center for the Performing Arts in St. Paul, Minnesota.

Recent performance highlights include the lead role of Brian in the Metropolitan Opera’s 2013- 2014 new production and company commissioned premiere of celebrated American composer Nico Muhly’s Two Boys, conducted by David Robertson, and Ferrando in Mozart’s Così fan tutte with Oper Frankfurt.  Company debuts include the Santa Fe Opera singing Fritz in Offenbach’s The Grand Duchess of Gerolstein, Mozart’s Così fan tutte with the Canadian Opera Company, and Tamino in Mozart’s The Magic Flute at the Washington National Opera.  Concert appearances include works by Benjamin Britten as part of Carnegie Hall’s “Britten Discovery Day” 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.

Past highlights with the Metropolitan Opera include singing the Chevalier de la Force in Poulenc’s Dialogues des Carmélites conducted by Louis Langrée, Hylas in Les Troyensconducted by Fabio Luisi, Demetrius in the Baroque pastiche, The Enchanted Island, conducted by William Christie and directed by the team of Phelim McDermott and Julian Crouch, and Brighella in Ariadne auf Naxos under the baton of Fabio Luisi for his company debut in 2011. Additional debuts of note include performances at Boston Lyric Opera in Così fan tutte directed by Sir Thomas Allen and 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.  He sang 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 appearances include 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.  His concert debuts include Mozart’s Mass in C Minor with the New York Philharmonic conducted by Alan Gilbert, a program of opera arias with the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern conducted by Christoph Poppen, Haydn’s Die Schöpfung at the Wolfegg Festival under the baton of Mr. Honeck, and Bach’s St. Matthew Passion conducted by James Conlon with the  Cincinnati Symphony Orchestra.

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, The Pace Series in New York, 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.

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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,

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