Garrett Sorenson



American tenor Garrett Sorenson has been praised as an artist of unique interest, garnering critical acclaim for the beauty and power of his rich lyric voice.

During the 2019-2020 season, Mr. Sorenson reprises Steve Wozniak in Mason Bates’ The (R)evolution of Steve Jobs in a return to San Francisco Opera. In concert, he sings Handel’s Messiah and Rachmaninoff’s The Bells with the Nashville Symphony under the baton of Giancarlo Guerrero.

In recent seasons, Mr. Sorenson made his house debut at Seattle Opera while reprising Steve Wozniak in The (R)evolution of Steve Jobs, returned to Kentucky Opera as Bacchus in Ariadne auf Naxos, and sang Faust in the world premiere of The Beyond in collaboration with the Louisville Ballet. On the concert stage, he has performed Verdi’s Messa da Requiem with the Orquesta Sinfónica de Castilla y León, Rachmaninoff’s The Bells with the Houston Symphony led by Andrés Orozco-Estrada, and Beethoven’s Symphony No. 9 with both the Charlotte Symphony and Phoenix Symphony.

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“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.”

More Reviews

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

George Loomis, 

“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,

“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