American bass Anthony Reed made his debut this season in the title role Le nozze di Figaro at New Orleans Opera. He recently joined Pacific Symphony under the baton of Carl St. Clair for the role of Ceprano in Rigoletto and last summer had great success of the role of Tchélio in The Love for Three Oranges at Des Moines Metro Opera. This season also takes him to France, where he sings the role of Masetto in Don Giovanni at Opéra de Rouen.
Recent engagements include his Royal Opera House debut as Collatinus in The Rape of Lucretia in a Britten Pears Arts production inaugurated at Snape Maltings, and Simone in both Gianni Schicchi and Buoso’s Ghost at Florida Grand Opera. Other highlights include Sarastro in Die Zauberflöte, Truffaldino in Ariadne auf Naxos, Il Re in Aida, Don Basilio in Il barbiere di Siviglia, Dulcamara in L’elisir d’amore and Frère Laurent in Roméo et Juliette.
As a member of the Ryan Opera Centre at Lyric Opera of Chicago for three seasons, the artist covered principal roles such as Fafner in Der Ring des Nibelungen, Angelotti in Tosca and Commendatore in Don Giovanni. During his tenure as an Adler Fellow at San Francisco Opera, he covered Sparafucile and sang Count Ceprano in Rigoletto, Timur in Turandot and Colline in La bohème; additionally, he appeared in many mainstage roles including Schmidt in Andrea Chénier, Mayor in Jenůfa and Hans Schwarz in Die Meistersinger von Nürnberg.
Often heard in symphony halls, Mr Reed’s concert repertoire includes Mozart’s Requiem, Haydn’s Creation and Missa in tempore belli, Bach’s B Minor Mass, and Handel’s Messiah. He has appeared with the San Francisco Opera Orchestra, Nashville Symphony, Civic Orchestra of Chicago, Philharmonia Baroque, and Curtis Symphony Orchestra, among others, under the batons of Andrew Davis, Mark Elder, James Gaffigan, Nicola Luisotti, George Manahan, Enrique Mazzola, Nicholas McGegan, Joana Carneiro and Donald Runnicles. Anthony Reed is a distinguished alumnus of the Lyric Opera of Chicago’s Ryan Opera Center, San Francisco Opera’s Adler Fellowship and Merola Opera Program, Wolf Trap Opera, Curtis Institute of Music and the University of Wisconsin.