Jarrett Ott

Baritone

Biography

American baritone Jarrett Ott was recently named one of twenty-five “Rising Stars” by Opera News, who described his voice in Cold Mountain as having an, “often ravishing, airy vocal finish…he brought the testing role not only lovely, Pelléas-like sound but a deep investment in the words.” In his continued career ascension, Mr. Ott will make many important role debuts, including 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 include 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. Mr. Ott will join the Ensemble of Staatsoper Stuttgart beginning in 2018-2019.

In the 2016-17 season, Mr. Ott made his major European opera debut at Deutsche Oper Berlin singing the role of the Angel in Andrea Scartazzini’s world premiere work Edward II, directed by Christoph Loy, and embarked on a European tour with Perm Opera and MusicAeterna as Don Pedro de Alvorado in a concert version of Purcell’s Indian Queen, with stops in Geneva, Köln, Bremen and Dortmund. In North America, Mr. Ott made three important role debuts: as Curly in Oklahoma! with Glimmerglass Festival, Zurga in Pearl Fisher’s with North Carolina Opera and Charlie in Jake Heggie’s Three Decembers with Opera Memphis. Concert engagements included debuts with Colorado Springs Philharmonic in Carmina Burana, a holiday concert with the Lexington Philharmonic and The Hyland Mass, a world-premiere with the New York Choral Society at St. Patrick’s Cathedral.

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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