Michael Sumuel



American bass-baritone Michael Sumuel, lauded as having “vocals [that] are smooth and ingratiating” (Daily Camera) returns in the 2018/19 season to perform Marcello in La bohème at Houston Grand Opera, and Alidoro in La Cenerentola at Norwegian National Opera and Ballet. A wonderful concert artist, Mr. Sumuel will sing Haydn’s Mass No. 12 in B-flat with the Grant Park Music Festival in Chicago, Beethoven’s Symphony No. 9 with the Oklahoma City Philharmonic, Puccini’s Messa di Gloria with the San Diego Symphony, conducted by Speranza Scappucci, and participate in a Schubertiade at Wolf Trap in Vienna, Virginia.

In the 2017/18 season, Michael Sumuel returned to Glyndebourne Festival Opera to perform Sharpless in Madama Butterfly and made his debut at Teatro Massimo di Palermo performing Theseus in Britten’s A Midsummer Night’s Dream. Concert appearances included debuts with the BBC Proms, singing Kate Whitley’s “I am I say” with the Multi-Story Orchestra at Eastgate Centre Rooftop Car Park, Mozart’s Mass in C minor with the Orchestra of St. Luke’s, conducted by Pablo Heras-Casado at Carnegie Hall, Beethoven’s Symphony No. 9 with Seattle Symphony, Handel’s Messiah with the New Jersey Symphony Orchestra, Bach’s St. John Passion with Music of the Baroque in Chicago, conducted by Jane Glover, and a return to Mercury Houston to perform the bass solos in Bach’s St. Matthew Passion.

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“Bass-baritone Michael Sumuel plays the title character with near-reckless, unabated exuberance. His three arias, each iconic in its own way, seem remarkably fresh in Sumuel’s interpretation, particularly the show-stopping jealousy number “Aprite un po’quegli occhi” in Act IV. His vocals are smooth and ingratiating, imbuing the character with the humanity he needs.”

Daily Camera

“The standout among them was bass-baritone Michael Sumuel, who brought luminous tone and theatrical presence to the roles of a Rhodesian barkeep and a Vietnam medic.”

San Francisco Chronicle

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“Most notable was bass-baritone Michael Sumuel in his San Francisco Opera debut, whose strong and convincing portrayal was the most affecting and convincing of the evening.”

California Literary Review