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A recent graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program, a program of the John F. Kennedy Center for the Performing Arts, Soloman Howard is garnering superlatives from the press for his vivid performances on the opera and concert stages.  His voice is called “sonorous” by The New York Times, “superhuman” by The Denver Post, and “spectacular” by Maryland Theatre Guide. Soloman Howard’s 2014-2015 operatic season is marked by several high profile debuts, most notably, with the Metropolitan Opera as The King in Verdi’s Aida conducted by Marco Armiliato. Additionally, Mr. Howard debuts with the Los Angeles Opera under the baton of Music Director James Conlon as Doctor Grenvil in La traviata and at the Glimmerglass Festival where he performs Banquo in Verdi’s Macbeth and Sarastro in Mozart’s The Magic Flute during the same period.  In a return engagement to North Carolina Opera, the bass also reprises his acclaimed portrayal of the title role in Approaching Ali. Performances during the 2013-14 season included Sarastro in The Magic Flute conducted by Washington National Opera’s Music Director Philippe Auguin, Moser in

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A recent graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program, a program of the John F. Kennedy Center for the Performing Arts, Soloman Howard is garnering superlatives from the press for his vivid performances on the opera and concert stages.  His voice is called “sonorous” by The New York Times, “superhuman” by The Denver Post, and “spectacular” by Maryland Theatre Guide.

Soloman Howard’s 2014-2015 operatic season is marked by several high profile debuts, most notably, with the Metropolitan Opera as The King in Verdi’s Aida conducted by Marco Armiliato. Additionally, Mr. Howard debuts with the Los Angeles Opera under the baton of Music Director James Conlon as Doctor Grenvil in La traviata and at the Glimmerglass Festival where he performs Banquo in Verdi’s Macbeth and Sarastro in Mozart’s The Magic Flute during the same period.  In a return engagement to North Carolina Opera, the bass also reprises his acclaimed portrayal of the title role in Approaching Ali.

Performances during the 2013-14 season included Sarastro in The Magic Flute conducted by Washington National Opera’s Music Director Philippe Auguin, Moser in Verdi’s I Masnadieri with Washington Concert Opera led by Music Director Antony Walker, Mendelssohn’s Die erste Walpurgisnacht at Carnegie Hall with Kent Tritle and the Oratorio Society of New York, and a role debut as Colline in La bohème with North Carolina Opera conducted by Robert Moody.

During the past season, Soloman Howard bowed as Ole Joe in Show Boat in Francesca Zambello’s new production for Washington National Opera and at the Denver Center for the Performing Arts under the auspices of Central City Opera in performances led by Hal France.  He also sang the Commendatore in Don Giovanni and the High Priest of Baal in Nabucco at Washington National Opera both led by Mr. Auguin.  As a part of the Company’s American Opera Initiative, Mr. Howard created the role of Muhammad Ali in the world premiere of Approaching Ali by composer D.J. Sparr. Of his performance, The Washington Post noted, “the accomplished young bass Soloman Howard, a Washington native, gave powerful voice to Muhammad Ali with equal parts humor and proud bluster.”

Concert performances have included numerous appearances with the Baltimore Symphony Orchestra including Händel’s Messiah, Haydn’s Lord Nelson Mass, and the Fauré Requiem.  He has sung the title role of Porgy and Bess with the Czech National Symphony Orchestra and Tippett’s A Child of Our Time at New York’s Cathedral of Saint John the Divine.

Soloman Howard is a graduate of the Manhattan School of Music and Morgan State University.

 

 

SEPTEMBER 2014: PLEASE DESTROY PRVIOUSLY DATED MATERIALS

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Reviews

"Howard has a superhuman ability to reach low, and then lower still, while maintaining a rich and bright tone to his voice. As his notes dropped on stage, jaws dropped in the audience. It carried the night... "

The Denver Post

"He [Soloman Howard] wielded his sonorous voice to vivid effect in the title role, his hands trembling from the effects of the Parkinson’s disease that afflicts Mr. Ali."

The New York Times

"The story is a heart-wrenching one, but the spirit of Ali (Soloman Howard) motivates throughout, as it does in popular culture. Soloman’s spectacular bass voice is particularly mature for such a young singer and is a beacon of hope for the profession, a fine representative of the Domingo-Cafritz Young Artists program."

Maryland Theater Guide