Keith Phares - Guglielmo

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Keith PharesKeith Phares - Guglielmo

Baritone


Previously at Portland Opera: Nixon in China, 2006

Noted by the press for his dashingly attractive stage presence, commanding vocal authority, and creamy, warm baritone voice, Keith Phares is acclaimed both on the opera and concert stage as one of today’s most versatile artists.

 Keith Phares

Keith Phares - Guglielmo

Baritone


Previously at Portland Opera: Nixon in China, 2006

Noted by the press for his dashingly attractive stage presence, commanding vocal authority, and creamy, warm baritone voice, Keith Phares is acclaimed both on the opera and concert stage as one of today’s most versatile artists.

During the 2008/09 season Keith Phares makes his San Francisco Opera debut in the Company’s premiere of Jake Heggie’s Three Decembers, singing opposite Frederica von Stade. He debuts with the Opera Company of Philadelphia as Haly in L’Italiana in Algeri and bows as Falke in Opera New Jersey’s presentation of Die Fledermaus, singing opposite Ruth Ann Swenson. The artist returns to the Washington National Opera as Ned Keene in Peter Grimes and offers a recital under the auspices of the Wolf Trap Foundation for the Performing Arts.

Keith Phares made his Houston Grand Opera debut last season under the direction of Patrick Summers in the world premiere of Jake Heggie’s Last Acts and returned to the stage of the Opera Theatre of Saint Louis in a new production of Martín y Soler’s Una Cosa Rara. Continuing his fervent commitment to bringing the works of living composers to the stage, the artist sang the title role of Elmer Gantry, by Robert Aldridge, in a co-production with Nashville Opera and Montclair State University (NJ). The artist offered Five Movements for My Father in a program of chamber music by Susan Kander at Weill Hall in New York: his performance coincided with the commercial release of this work on the Loosecans Music label. Mr. Phares returned to the roster of the Metropolitan Opera to cover the role of Count Almaviva in Le nozze di Figaro and to cover Mercutio in Roméo et Juliette.

Operatic highlights of recent seasons include a Metropolitan Opera debut, under the baton of James Levine, in the French triple-bill Parade, performances of The Pilot in the Francesca Zambello production of The Little Prince at New York City Opera and Boston Lyric Opera, Maurice Bendrix in Jake Heggie’s The End of the Affair with the Lyric Opera of Kansas City and Madison Opera, Harlequin in Ariadne auf Naxos at the Dallas Opera, Chou-En Lai in Portland Opera’s presentation of Nixon in China, Danilo in The Merry Widow in a return engagement at the Lyric Opera of Kansas City, Masetto in the acclaimed Günter Krämer production of Don Giovanni at the Spoletto Festival USA, and Sebastian in the North American premiere of Thomas Adès’ The Tempest presented by the Santa Fe Opera in a new production by Jonathan Kent and conducted by Alan Gilbert.

Additional credits of note include Billy Budd at Washington National Opera, Sweeney Todd, Il Ritorno d’Ulisse in Patria, and Die Tote Stadt at New York City Opera, Don Pasquale, La Cenerentola, and The Mikado for Arizona Opera, Faust and Cold Sassy Tree with Utah Symphony & Opera, Beatrice and Benedict at Santa Fe Opera, The End of the Affair at Madison Opera, and Così fan tutte, and Il Barbiere di Siviglia at Boston Lyric Opera. With the Opera Theatre of Saint Louis, he has been seen as Charles Lindbergh in Loss of Eden by Cary John Franklin and as Pip in Miss Havisham’s Fire by Dominick Argento.

Concert highlights include Béatrice et Bénèdict with the New York Philharmonic under the baton of Sir Colin Davis, Candide with the San Francisco Symphony and Patrick Summers, Gerald Barry’s The Triumph of Beauty and Deceit with Thomas Adès and the Los Angeles Philharmonic, and a program of Rogers and Hammerstein songs with the Fort Worth Symphony Orchestra. He also has been honored to be affiliated for many seasons with the Marilyn Horne Foundation, under whose auspices he has appeared in numerous recitals and master classes throughout the United States.

A graduate of the Juilliard Opera Center, he was a national winner of the 1998 Metropolitan Opera National Council Auditions and a finalist in the 1999 Eleanor McCollum Competition of the Houston Grand Opera. He also has been recognized with a Richard Gaddes Grant from the Opera Theatre of Saint Louis and the 2000 Richard F. Gold Career Grant from the Juilliard School of Music.

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