Jarrett Ott

Baritone

Biography

American baritone Jarrett Ott, who was named one of Opera News’ twenty-five “Rising Stars,” and called, “devilishly-handsome and full of bravado” by KC Metropolis, will make many important European role debuts as he embarks on his first season in the Ensemble of the Staatstheater Stuttgart for the 2018-19 season. New production debuts include Oreste in Iphigénie en Tauride and Chou En-lai in Nixon in China. Other European role debuts in Stuttgart include Figaro in Il barbiere di Siviglia, Marcello in La Bohème and Dandini in La Cenerentola, In North America, he will return to Santa Fe Opera for Guglielmo in Così fan tutte, a role debut, and the title role in David Lang’s world-premiere prisoner of the state with Jaap van Zweden at the New York Philharmonic.

In the 2017-18 season, Jarrett Ott debuted the role of Papageno in Die Zauberflöte with Opera Philadelphia as part of their inaugural O17 festival, Figaro in Il Barbiere di Siviglia with Lyric Opera Kansas City and Dayton Opera, Jupiter in Offenbach’s Orpheus in the Underworld with New Orleans Opera, and at Santa Fe Opera, Harlekin and Maximilian in Ariadne auf Naxos and Candide, respectively. Important concert debuts included Carmina Burana with Seattle Symphony, Brahms’ Requiem with Columbus Symphony and Stanford’s Songs of the Fleet with the New York Choral Society at Carnegie Hall.

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Reviews

..the standout was Jarrett Ott as Curly, the lovesick cowboy in Rodgers and Hammerstein’s “Oklahoma!”His very first line, “There’s a bright golden haze on the meadow,” sung from the back of the house, revealed a free, mellifluous baritone, full of life and sunshine, and it never flagged. A confident actor who is also very handsome, Mr. Ott will go far.

– August 16, 2017

Heidi Waleson

Wall Street Journal

“Two apprentices…especially the charismatic Jarrett Ott as Marullo in “Rigoletto,” made memorable cameos.”

Zachary Woolfe

The New York Times

More Reviews

“A ‘real’ voice helps immeasurably here, and Jarrett Ott—ideally cast physically and dramatically—supplied a fantastically pliable and attractive baritone, sensitive to words and musical values. He dominated the evening,…

David Shengold, Opera Magazine 

“There’s a glut of gifted lyric baritone voices on the market; it’s hard not to wonder whether there will be enough work for all of them. Even in such company, however, twenty-eight-year-old JARRETT OTT stands out. A native of Argyl, Pennsylvania, and a former student of Marlena Malas at the Curtis Institute, he not only has a voice that is polished and immaculately produced; he is also a highly expressive artist, as he has proved in racking up a number of competition victories with Billy Budd’s “Look! Through the port….” Ott’s sound, both pointed and mellow, is ideal for certain Britten roles, and he would love to do a fully staged production of Billy Budd soon.”

Opera News

“…baritone Jarett Ott was solid, steady, and inherently sweet as Masetto…”

James M. Keller, Santa Fe New Mexican 

“Baritone Jarrett Ott delivers a remarkable performance as Guglielmo. Most notably, Ott contributes a ravishing addition to “Il core vi dono.”

Mary Johnson; The Baltimore Sun

“Outstanding vocally among them [was] Curtis-trained singer Jarrett Ott, a cultivated baritone…”

David Shengold, Opera News

“Baritone Jarrett Ott was the true star of the evening, singing the role of Roderick and Sam. Ott’s rich voice in conjunction with masterful phrasing could bring Hades to tears.”

Jacob Slattery, Bachtrack

“Jarrett Ott, a graduate and rising star, guested as a Count; supremely at ease in his Abercrombie and Fitch stage presence, Ott sang with sonorous clarity and precision. ”

David Shengold, Opera News