Biography
American baritone Norman Garrett, whose performances have been called “scene-stealing” by the New York Times, is enjoying a varied and exciting career. Role and house debuts abound in the 2018/19 season include Ríolobo in Daniel Catán’s Florencia en el Amazonas at Houston Grand Opera, a return to Washington National Opera as Lieutenant Gordon in Silent Night, a debut at the Bayerische Staatsoper in Munich as Larkens in La Fanciulla del West, Jochanaan in Salome with Dayton Opera, and Crown in Porgy and Bess with Fort Worth Opera. High profile concert appearances include Carmina Burana with Bramwell Tovey and the Los Angeles Philharmonic at the Hollywood Bowl as well as at the Toronto Symphony with Donald Runnicles.
In recent past seasons, Norman Garrett has appeared numerous times with Washington National Opera, where he was a Domingo-Cafritz Young Artist. Performances there include Ríolobo, Papageno in The Magic Flute, Masetto in Don Giovanni, the Father in Hansel and Gretel, a Steersman in Tristan und Isolde, Captain Gardiner in Jake Heggie’s Moby Dick, and the world premiere of Jeanine Tesori’s The Lion, the Unicorn, and Me. Other operatic appearances include his Lyric Opera of Chicago debut as Jake in Porgy and Bess, the title role in Delius’ rarely heard Koanga with Wexford Festival in Ireland, Escamillo in Carmen with both Austin Opera and Opera Columbus, Crown with Glimmerglass Festival and University of Michigan, Minksman in Jonathan Dove’s Flight at Des Moines Metro Opera, and Mandarino in Turandot with Cincinnati Opera.
Reviews
“Norman Garrett, an alumnus of [Washington National Opera’s] Domingo-Cafritz program… was imposing both vocally and physically as Ford, the husband of one of the women Falstaff is pursuing.”
Anne Midgette
“The Ford of baritone Norman Garrett [was] towering in presence and both powerful and refined in sound.”
Charles T. Downey
More Reviews
“Norman Garrett, an alumnus of [Washington National Opera’s] Domingo-Cafritz program… was imposing both vocally and physically as Ford, the husband of one of the women Falstaff is pursuing.”
“The Ford of baritone Norman Garrett [was] towering in presence and both powerful and refined in sound.”
“Norman Garrett stood out [as] Captain Gardiner.”
“The piece was luxuriously cast with two of the stars of the current Domingo-Cafritz young artists, [including] Norman Garrett.”
“Norman Garrett’s elegant basso cantante and crisp diction were the opera’s conscience.”
“Aida’s father — the captured Ethiopian king Amonasro… [was] commandingly sung by Norman Garrett.”
“As the kids’ good-hearted but n’er-do-well Dad, Peter, baritone Norman Garrett put together an uncanny combination of bluster and affection in his interpretation of the role. Possessing a large, impressive instrument, Mr. Garrett skillfully managed to re-shape his voice to accommodate his role to this production’s more intimate setting.”
“Fortunately, the performances were excellent: in the title role of the bloodthirsty Dahomey prince, baritone Norman Garrett scored a personal triumph.”
Brian Kellow – Opera News
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