Gordon Bintner



The Grand Prize Winner of the OSM Standard Life Competition (2011) and First Prize and People’s Choice Award recipient of the Canadian Opera Company Ensemble Studio Competition (2012), Canadian Bass-Baritone Gordon Bintner appears internationally in a wide-range of Operatic and concert repertoire.

Highlights of the 2018/19 season include the title role in the Canadian Opera Company’s production of Eugene Onegin; Harlekin in Ariadne auf Naxos, Papageno in Die Zauberflöte, Argante in Rinaldo, Vladislav in Dalibor, Der Graf in Der ferne Klang, and Il Conte in Le nozze di Figaro at Oper Frankfurt; and Phorbas in Achim Freyer’s new production of Oedipe at the Salzburg Festival, conducted by Ingo Metzmacher. In concert, Mr Bintner will sing Figaro in Le Nozze di Figaro with the National Arts Centre and its Music Director Alexander Shelley, as well as Handel’s Messiah with Mogens Dahl and the Orchestra of the Age of Enlightenment. Future projects include debuts at the Royal Opera House, Covent Garden, the Metropolitan Opera and the Lyric Opera of Chicago.

In 2017/18, Bintner performed the role of Astolfo in Lucrezia Borgia at the Salzburg Festival; Belcore in L’elisir d’Amore with the Canadian Opera Company; Der Graf in Capriccio, Alexandr Petrovič Gorjančikov in Aus einem Totenhaus, and Bogdanovitch in Die lustige Witwe at Oper Frankfurt; and Papageno in Die Zauberflöte at Festival d’opéra de Québec. Mr Bintner is also featured as Junior in the new Decca recording of Bernstein’s A Quiet Place with the Montreal Symphony Orchestra and Kent Nagano, which was released in June 2018.

Highlights of the 2016/17 season included the Count in Le Nozze di Figaro with Milwaukee Symphony Orchestra, Don Giovanni in Don Giovanni with Opéra de Montréal and Festival de Beaune, Christus in Bach’s Matthäus Passion and Junior in Bernstein’s A Quiet Place with Montreal Symphony Orchestra, Chorèbe in Les Troyens with Oper Frankfurt and Astolfo in Lucrezia Borgia with the Salzburg Festival.

In 2015/16, Bintner made debuts at Osterfestspiele Salzburg as Araldo in Otello with Christian Thielemann, Michigan Opera Theatre as Papageno in Die Zauberflöte, Manitoba Opera as Figaro in Le Nozze di Figaro and Milwaukee Symphony Orchestra as Guglielmo in Così fan tutte. He also made appearances with the COC Ensemble Studio, including Il Conte in Le Nozze di Figaro.

Other credits include Lescaut in Manon at Opéra de Montréal, Nardo in La Finta Giardiniera at San Francisco Opera’s Merola Opera Program, Bill in A Quiet Place with Ensemble Modern and Herr Basilio in Der Barbier von Sevilla with Salzburger Festpiele’s Young Singers Project. Concert appearances include Handel’s Messiah with New Jersey Symphony Orchestra and Bach’s Christmas Oratorio and Cantatas BWV 147, 75 and 164 with Montreal Symphony Orchestra.

A graduate of the Canadian Opera Company’s Ensemble Studio, Mr Bintner recently joined the Company of Oper Frankfurt.

UPDATED April 2019


“The riveting and imperious Argante of bass-baritone Gordon Bintner dominated the largely uniform cast. Physically alluring, his acting was both organic and expressive, his characterization compelling and layered and his command of musical idiom, phrasing and Italian diction exemplary. He also produced a vocal performance of awe-inspiring beauty (as in ‘Vieni o cara’) and effortless power and accuracy (as in ‘Sibillar gli angui d’Aletto’).”

Opera Canada

“This is a major singer and is clearly the best in this competition. He is tall, slim, handsome, moves well on stage, musicality and charisma to burn, has a glorious baritone that is sturdy yet expressive. In other words, this guy has the complete package. His Figaro aria was acted with flair and sung with firm, manly tone – bravo. His Rinaldo aria – a role he sang at McGill – was fabulous with excellent agility for such a big voice. It is clear Mr. Bintner is enormously talented.”

La Scena Musicale

More Reviews

“Gordon Bintner, recent grand prize winner of the OSM competition, is the star of the show. Tall, blond, seductive, he has everything a Don Giovanni needs, and better yet, he acts well and he sings well. This man will certainly have a big career.”

– La Presse, Montreal

“By far the most finished was the baritone of Gordon Bintner, first-prize winner in this season’s OSM Competition. Warmly coloured from top to bottom, his singing boasted the twin virtues of natural phrasing and dead centre pitch.”

– The Gazette, Montreal