Ryan Speedo Green



Praised by Anthony Tommasini of the New York Times for his “robust voice” and Anne Midgette of the Washington Post as an artist “fully ready for a big career,” Bass-Baritone Ryan Speedo Green is quickly establishing himself as an artist of international demand at the world’s leading opera houses. The 2017 – 2018 season sees Mr. Green return to the Metropolitan Opera for his role debut as Oroe in the John Copley production of Semiramide. Mr. Green also returns to the Wiener Staatsoper as an ensemble member with roles including Fasolt in Das Rheingold, Sparafcuile in Rigoletto, Pistola in Falstaff, Schmidt in Andrea Chénier, Dottore in La Traviata, and Peneios in Daphne, among others.

The 2016 – 2017 season saw Mr. Green return to the Metropolitan Opera as Colline in the iconic Zeffirelli production of La Boheme, which the New York Times labeled Mr. Green “the real showstopper,” and the New York Observer marked this performance as his “breakthrough as a star.” Mr. Green also made his house and role debut as Osmin in the James Robinson production of Die Entführung aus dem Serail at Houston Grand Opera, as well as his house and role debut as Escamillo in Carmen with Opera San Antonio. Mr. Green returned to the Wiener Staatsoper for his third season as an ensemble member with roles including Basilio in Il Barbiere di Siviglia and Timur in Turandot, among others.

Concert work in the 2016 – 2017 season included Mr. Green’s debut with the LA Philharmonic singing Beethoven’s Ninth Symphony conducted by Gustavo Dudamel at the Hollywood Bowl, a return to Tanglewood for Walton’s Belshazzar’s Feast with Bramwell Tovey conducting the Boston Symphony Orchestra, his debut with the Brevard Music Festival singing Verdi’s Requiem, and Basilio in Il Barbiere di Siviglia with the Santa Cruz Symphony, conducted by music director Daniel Stewart. Recital engagements included his debut at the Ravinia Festival and a recital and residency at the Torggler Summer Vocal Institute at Christopher Newport University in his native Virginia.

In the fall of 2016, Little, Brown published Sing for Your Life, by New York Times journalist Daniel Bergner. The book tells the story of Mr. Green’s personal and artistic journey: from a trailer park in southeastern Virginia and from time spent in Virginia’s juvenile facility of last resort to the Met stage. The New York Times Book Review called the book “one of the most inspiring stories I’ve come across in a long time,” and the Washington Post called it a “vital, compelling, and highly recommended book.” Sing for your Life has been honored with a number of recognitions including the New York Times bestseller and editor’s choice, a Washington Post Notable Book, and a Publishers Weekly Book of the Year.

Mr. Green made his Met stage debut as a Lindemann Young Artist, singing the Mandarin in Turandot, with additional appearances including Rambo in the premier of The Death of Klinghoffer conducted by David Robertson, the Second Knight in a new production of Parsifal which was broadcast as part of the Met’s Live in HD program, the Bonze in Madama Butterfly, and the Jailer in Tosca. Additional operatic engagements include Ferrando in Il Trovatore with Opera de Lille’s traveling production, Third King in Die Liebe der Danae with the Salzburg Festival, and Commendatore in Don Giovanni at The Juilliard School.

At the Wiener Staatsoper, Mr. Green has been seen as Sparafucile in a new production of Rigoletto, Basilio in Il Barbiere di Siviglia, Varlam in Boris Godunov, Angelotti in Tosca, Timur in a new production of Turandot, Fouquier Tinville in Andrea Chénier, the Monk in Don Carlo, the Pope in Lady Macbeth of Mzensk, Angelotti in Tosca, and the King in Aida.

Orchestral appearances include Strauss’s Daphne with the Cleveland Orchestra conducted by music director Franz Welser-Möst, his debut with the Boston Symphony Orchestra as Second Soldier in Salome under the baton of Andris Nelsons, a debut with the Philadelphia Orchestra singing Beethoven’s Ninth Symphony, the bass solo in Verdi’s Requiem with Hartford Chorale, Mozart’s Coronation Mass with the Virginia Symphony, and Beethoven’s Ninth Symphony with the Florida Symphony and Norwalk Symphony Orchestras. Mr. Green was also a featured soloist in a celebration of song honoring Carlisle Floyd’s 85th Birthday with the Florida State University Department of Music, conducted by the composer.

Honors and awards include National Grand Finals winner of the 2011 Metropolitan Opera National Council Auditions, a 2014 George London Foundation Award, a 2014 Annenberg grant recipient, a 2014 Gerda Lissner Foundation First Prize winner, both the Richard and Sara Tucker Grants from the Richard Tucker Foundation, and a finalist in the Palm Beach Opera Competition.

A native of Suffolk, Virginia, Mr. Green received a Master of Music degree from Florida State University, a Bachelor of Music degree from the Hartt School of Music, and was a member of the Metropolitan Opera Lindemann Young Artist Development Program.


But this performance will be remembered, I think, as the night of bass-baritone Ryan Speedo Green’s breakthrough as a star. His full and distinctive voice made even the tiniest lines sound important, and his final act “Coat Aria” felt like the climax of the whole opera. I predict this artist, already mightily impressive, will soon be so essential he’ll be anchoring a Gesamtkunstwerk of his very own.

James Jorden

New York Observer

“Ryan Speedo Green, a scene-stealing bass-baritone with a robust voice, was excellent as Osmin, the overseer of the pasha’s palace.”

Anthony Tommasini

The New York Times

“The bass-baritone Ryan Speedo Green, with his husky physique and robust voice, makes a menacing figure as the hijacker nicknamed Rambo.”

Anthony Tommasini

The New York Times

Bass-baritone Ryan Speedo Green is both the opera’s standout star and least likable character as Osmin, Pasha Selim’s overseer and harem guard. From his first major aria—where he hog-ties Pedrillo and sings about how he’ll mangle, strangle, rip and tear him apart—he was a fantasy of sonorous, rumbling tone and accuracy. Green has mastered the trick of Mozart, who remains hands down the most adroit opera composer ever—you have to make something really difficult to sing effortlessly.

Sydney Boyd


More Reviews

“But the real showstopper was Mr. Green, immensely touching in his aria lamenting the loss of his overcoat, which he is about to sell for the communal good. He also showed athleticism in a mock swordfight with Mr. Pogossov on the set’s angular Parisian rooftops.”

James Oestreich – The New York Times 

“The excellent quartet of soloists was most notable for bass-baritone Ryan Speedo Green…whose voice exudes charisma in ways that even the best bass soloist can’t always manage in the heroic call-to-arms of the final movement. Green’s burnished, unforced sound and projection of words were all of a piece.”

David Patrick Stearns – The Philadelphia Inquirer 

“Ryan Speedo Green stands almost six-foot-five and weighs 300 pounds and wears size 17 shoes, and on a Sunday afternoon in March he was running in place and doing jumping jacks as he waited in the wings of the Metropolitan Opera…”

Daniel Bergner – The New York Times 

“Ryan Speedo Green, who sang Don Profondo with a warm mien and sound, seems fully ready for a big career.”

Anne Midgette – The Washington Post 

“Bass-baritone Ryan Speedo Green filled out the role of Don Profondo with a warm, beefy tone that he molded with great nuance; the patter of “Medaglie incomparabili” breezed by with delectable shifts of accent for each nationality referenced in the text.”

Time Smith – Opera News 

“Bass Ryan Speedo Green sang the role of Don Basilio with entrancing stage presence. His towering frame, vocal sonority and perfect comic timing made the “slander” aria one of the evening’s standouts.”

Robert Coleman – Opera News 

“In the cameo part of the Mandarin, Ryan Speedo Green made a promising debut. The youthful bass-baritone — who was less than a year old when this production premiered in 1987 — boasted a full, smoky voice and towering stage presence.”

James Jordan – New York Post 

“Debuting in the small role of the Mandarin, bass-baritone Ryan Speedo Green impressed with his strong delivery and commanding stage presence.”

Mike Silverman – Associated Press 

“The Commendatore was sung with imposing gravity by the bass-baritone Ryan Speedo Green.”

Vivien Schweitzer – The New York Times 

“Ryan Speedo Green, a bass-baritone who recently won the Metropolitan Opera’s National Council Auditions, offered an imposing portrayal of the Commendatore.”

Vivien Schweitzer – The New York Times 

“In this tale of a serial seducer sent to hell for his sins, one singer stood literally head and shoulders above the rest: 6-foot-5 bass-baritone Ryan Speedo Green. As the vengeful Commendatore, the 24-year-old revealed a voice as mighty as a cannon — and the magnetic presence of a superstar.”

James Jordan – New York Post 

“Ryan Speedo Green was a magnificently sonorous Sarastro, resplendent in graying dreadlocks and flowing robe.”

Steve Smith – The New York Times