With a vocal quality described by Opera Today as “stunning . . . with a striking brightness that thrills,” American baritone Shea Owens is quickly gaining a reputation as a confident and charismatic performer. In the 2018-2019 season, Shea Owens will join the Theater St. Gallen as an Ensemble member, performing Belcore in L’Elisir d’Amore, Ottone in L’incoronazione di Poppea, Prinz Iwan and Des Kaisers Kammerherr in a double bill of Rimsky-Korsakov and Stravinsky’s Der unsterbliche Kaschtschei and Die Nachtigall, respectively, and staged performances of Haydn’s The Seasons.
In the 2017-2018 season, Mr. Owens performed Marcello in La bohème at Theater St. Gallen in Switzerland, and returned to the Grand Théâtre de Genève for Wagner in Faust, also covering the role of Silvio in Pagliacci. Additional projects included Charlie in Three Decembers opposite Frederica von Stade with Livermore Valley Opera, Seneca in Jonathan Dawe’s Nero and the Fall of Lehman Brothers with the Montréal-based company Ballet-Opéra-Pantomime, and Carmina Burana with the Altoona Symphony in Pennsylvania.Read more
In the 2016-2017 season, Mr. Owens returned to Europe, performing Marcello with the Grand Théâtre de Genève in Switzerland, the role of Egisto in Vittorio Gnecchi’s rarely-heard opera Cassandra with Teatro Grattacielo in New York City, and the role of Edward Kynaston in Carlisle Floyd’s The Prince of Players with the Little Opera Theatre of New York. In the summer of 2017, Shea Owens returned to Wolf Trap Opera as the title role in John Musto’s Bastianello and in Rossini’s La pietra del paragone as Pacuvio.
Recent projects included his European debut as Colonel Ricci in Sondheim’s Passion with Natalie Dessay at Théâtre du Châtelet, Junius in The Rape of Lucretia with Wolf Trap Opera, a return to Utah Opera for his role debut as Cascada in The Merry Widow, as well as a duo recital with Dina Kuznetsova entitled “From Russia to Riverside Drive: Rachmaninoff and Friends” under the auspices of the New York Festival of Song and the New York Philharmonic.
In addition to operatic and concert work, Mr. Owens also enjoys doing community outreach performances. He performed hundreds of shows for school children as a young artist with Utah Opera from 2012-2014. One of his most memorable outreach concerts was in 2016 in collaboration with Wolf Trap Opera and Taffety Punk Theater Company in order to raise awareness about violence against women.
“Shea Owens, though still a young man, seemed to walk onto the stage an artist fully formed; perhaps even a star. He exuded confidence and charisma that put the audience immediately at ease, and unfurled a handsome baritone with a shining top.”
“Shea Owens, with a velvet-like baritone voice and powerful high register, transformed the nimble Chamberlain who previously was the Prince in an astronaut suit to a captivating Lover Boy.”
“Shea Owens, who has a captivating baritone voice, sung his role of the Prince and Chamberlain exceptionally.”Werner M. Grimmel
“Another American, Shea Owens, is the pick of a strong supporting cast with his perfectly-pitched baritone as Fosca’s cousin Colonel Ricci …”
“[Shea] Owens displayed very sweet tones in the upper register, handled with great sensitivity, and great richness in mid and lower ranges. “
“Utah Opera resident Shea Owens lent his ample baritone and canny stage presence to the role of Mandarin with great success.”
“. . . superbly prepared . . .” “Baritone Shea Owens, the passionate, doomed Swineherd [in John Harbison’s A Full Moon in March] . . . should run immediately to the Metropolitan Opera’s Lindemann Young Artist Program. James Levine . . . must know some of these emerging artists, who not only show what the Tanglewood vocal department is now, but point toward its future.””
Notes on Notes