UPCOMING:

Wotan in Die Walkure, Tokyo Nikikai Opera Foundation
September 15, 22, 2013
Tickets

Title role in The Flying Dutchman, San Francisco Opera
October 22, 26, 31, November 3, 7, 12, 15 , 2013
Tickets

Richard Tucker Gala, Avery Fisher Hall, Richard Tucker Foundation
November 17, 2013
Tickets

Title role in Macbeth, Minnesota Opera
January 25, 28, 30, Feb 1, 2, 2014
Tickets

John Claggart in Billy Budd, Los Angeles Opera
March 2, 5, 8, 13, 16, 2014
Tickets

Title role in The Flying Dutchman, Opera Carolina
March 22, 27, 30, 2014
Tickets

Wotan in Die Walkure, Gran Teatre del Liceu
May 19, 22, 23, 25, 27, 28, 30, 31, June 3 2014
Tickets

Don Pizarro in Fidelio, Santa Fe Opera
July 12, 16, 25, 31, August 5, 12, 21, 2014
Tickets

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Greer Grimsley

Bass-Baritone

American Bass-Baritone Greer Grimsley is internationally recognized as an outstanding singing actor and one of the most prominent Wagnerian singers of our day.  Continuing his reign as a leading interpreter of Wotan, he recently sang the eminent role for the Metropolitan Opera’s Ring Cycle in Robert Lepage’s landmark production in the Spring of 2013, directly followed by Stephen Wadsworth’s production for Seattle Opera. This past season’s engagements also included Don Pizarro in Fidelio for Seattle Opera and the High Priest in Samson et Dalila in his hometown of New Orleans Opera.

Future seasons see returns to San Francisco Opera as the title role in The Flying Dutchman which he will also perform for Opera Carolina, Wotan in Die Walküre at the Gran Teatre del Liceu in Barcelona as well as Tokyo’s Nikikai Opera Foundation, the title role in Macbeth with Minnesota Opera, Don Pizzaro in Fidelio for Santa Fe Opera, and his debut as Claggart in Billy Budd with the Los Angeles Opera.  Through 2017 he will also see returns to the Metropolitan Opera, Seattle Opera, Dallas Opera, Gran Teatre del Liceu and San Diego Opera.

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…singing was a sumptuous outpouring…
 The Flying Dutchman- “But central to the success of any Dutchman production is the Dutchman himself. In this role, Greer Grimsley, who is a Seattle Opera favorite but whom I was encountering for the first time, covered himself with glory. A handsome man, slim of build, he looked the part, and his singing was a sumptuous outpouring of bass-baritone sound, molded with style and sensitivity. Indeed, the long section of Act II leading up to his understanding with Senta was as beautiful and as profoundly expressive as any performance of it I can recall hearing..” Seen and Heard
…sumptuously beautiful voice…
 Das Rheingold in concert- “Dominating the proceedings were the Wotan of Greer Grimsley and the Alberich of Richard Paul Fink; a well-matched, vicious pair. Grimsley projected iron power with a sumptuously beautiful voice, smooth as silk, precise of text.” -Huffington Post
…he sings like a god…
Der Ring des Niblungen“No amount of cynicism can mask the fact that there are not many Wotans out there today capable of singing a full Ring cycle with anything approaching adequacy. It was, therefore, a pleasure to hear Greer Grimsley first assay the role in Seattle in 2005, and what was then a promising Wotan has now become The Genuine Article in all of its splendor and glory. He acts as about as well as a Wotan can act, but he sings…well…like a God. The role lies in the heart of his vocal range, and he sings with a rare combination of power and suavity. The world has waited for a very long time for a Wotan who can sing without barking or rasping, and he has arrived.” -Huffington Post
…wide-ranging and handsome voice…
Der Ring des Niblungen“Grimsley commanded the stage in ‘Das Rheingold’ and ‘Die Walkure’ with his wide-ranging and handsome voice, and equally so in ‘Siegfried.’ He was fresh and powerful in all that he did.” -Huffington Post
…baritone range and bass coloration…
Tristan und Isolde - “Greer Grimsley was ideal as a deeply caring Kurwenal, with his George London-like fusion of baritone range and bass coloration.” -Opera News
…a terrific voice…
Tosca - “As Scarpia, American bass-baritone Greer Grimsley outshone everybody else in the cast — not hard to do when you’ve got a terrific voice and you’re playing opera’s charming cad of cads.” Opera News
…Greer Grimsley is a force of nature…
 Macbeth “Greer Grimsley is a force of nature; his bass-baritone, dark and sinewy, is tactile. The man may earn his keep singing Wagner, but he knows how to squeeze import from an Italian vowel. He tempers the natural authority of his instrument to enact his character’s vulnerability. And he hints, poignantly, at an uncorrupted Macbeth that might have been.” Minneapolis Star-Tribune 
…powerful force during every scene…
La Fanciulla del West“Greer Grimsley’s Jack Rance… is a palpable, powerful force during every scene.  Tall, commanding, and dark- voiced, Grimsley projects a remarkable blend of cynicism, honor, passion, and a devil-may-care attitude about life and death.  He ignites the second act, in which three principals meet in Minnie’s cabin; his declaration to Minnie that he means to have her is accompanied by body language that would have a gal quaking in her cowgirl boots.” -Seattle Times
…phenomenal…
 Faust - “Vocally, he matched that power note for note. With a deep resonance and rounded warm tone – full of both strength and delicate nuance – Grimsley was phenomenal. As an actor, he never allowed the seductive charm of Mephistopheles to turn to caricature. Indeed, by the time he confronts and damns Marguerite in the church, he was chillingly frighteninged.” -The Times-Picayune
Composer Opera Role
Bizet Carmen Escamillo
Bartok Bluebeard’s Castle Bluebeard
Beethoven Fidelio Don Pizzaro
Berg Wozzeck The Doctor
Britten Peter Grimes Captain Balstrode
Billy Budd Claggart
Brook La Tragédie de Carmen Escamillo
Floyd Susannah Blitch
Gounod Faust Mephistopheles
Lieberson Ashoka’s Dream Canyka
Marschner Die Templer und die Juden Richard Lionheart
Offenbach Les Contes d’Hoffmann Four Villians
Puccini Tosca Scarpia
La Fanciulla del West Jack Rance
Saint-Saens Samson and Delilah High Priest
Strauss Elektra Orest
Salome Jochanaan
Arabella Mandryka
Verdi Aida Amonasro
Il Trovatore Count de Luna
Macbeth Macbeth
Wagner Lohengrin Telramund
Tristan und Isolde King Marke, Kurwenal
Parsifal Amphortas
Der Fliegende Hollander The Dutchman
Das Rheingold Wotan
Die Walküre Wotan
Siegfried Wanderer
Die Meistersinger von Nürnberg Hans Sachs
Weill Aufstieg und Fall der Stadt Mahagonny Dreieinigheitsmoses
Zemlinsky A Florentine Tragedy Simone
Der Zwerg Don Estoban
Composer Work
Bach St. John Passion
Magnificat
Cantatas
Beethoven Ninth Symphony
Berlioz Damnation de Faust
Brahms Ein Deutsches Requiem
Haydn The Creation
Mahler Symphony No. 8
Mozart Missa Solemnis
Mass in C
Rossini Stabat Mater
Schubert Mass in G
Verdi Requiem

Greer Grimsley

Bass-Baritone

American Bass-Baritone Greer Grimsley is internationally recognized as an outstanding singing actor and one of the most prominent Wagnerian singers of our day.  Continuing his reign as a leading interpreter of Wotan, he recently sang the eminent role for the Metropolitan Opera’s Ring Cycle in Robert Lepage’s landmark production in the Spring of 2013, directly followed by Stephen Wadsworth’s production for Seattle Opera. This past season’s engagements also included Don Pizarro in Fidelio for Seattle Opera and the High Priest in Samson et Dalila in his hometown of New Orleans Opera.

Future seasons see returns to San Francisco Opera as the title role in The Flying Dutchman which he will also perform for Opera Carolina, Wotan in Die Walküre at the Gran Teatre del Liceu in Barcelona as well as Tokyo’s Nikikai Opera Foundation, the title role in Macbeth with Minnesota Opera, Don Pizzaro in Fidelio for Santa Fe Opera, and his debut as Claggart in Billy Budd with the Los Angeles Opera.  Through 2017 he will also see returns to the Metropolitan Opera, Seattle Opera, Dallas Opera, Gran Teatre del Liceu and San Diego Opera.

Additional engagements that have led him to be labeled a leading Wagnerian interpreter include: Telramund in Lohengrin with the Metropolitan Opera, Royal Danish Opera, the Lyric Opera of Chicago, and Seattle Opera; Kurwenal in Tristan und Isolde with the Prague National Theatre, the Royal Danish Opera, the Opera de Bellas Artes in Mexico, Lyric Opera of Chicago, and with Seattle Opera; Amfortas in Parsifal with the Metropolitan Opera; and his other signature role as the terrifying Der Fliegende Holländer with performances at the Deutsche Oper Berlin, at the Teatro Comunale di Bologna under Maestro Gatti’s baton, with the Opéra national de Lorraine in Nancy, France, with Seattle Opera, Pittsburgh Opera, Opera Lyra Ottawa, in Lithuania, and in concert with the Syracuse Opera. He has also performed the role of Wotan in Die Walküre and Das Rheingold at the Deutsche Oper Berlin, and in the full Ring Cycle with the Teatro La Fenice di Venezia, Oper Köln, and on tour in Shanghai.

International engagements have also included Scarpia in Tosca at the Oper der Stadt Köln, at the Deutsche Oper Berlin, The Norwegian National Opera in Oslo, and at the Hyogo Performing Arts Center in Japan; Jokanaan in Salome with the Deutsche Oper Berlin, Aarhus-Den Jyske Opera in Denmark, the Scottish Opera, and the Opera de Bellas Artes in Mexico; Mephistopheles in Faust in Oviedo, Spain; Mandryka in Arabella with the Royal Danish Opera; Don Pizzarro in Fidelio with the Scottish Opera as well as the Portuguese National Opera São Carlos; Jack Rance in La Fanciulla del West and the title role in Bluebeard’s Castle with L’Opera de Montreal; the title role in Don Giovanni and Scarpia in Tosca with the Stadttheater Basel in Switzerland; the Villains in Les Contes d’Hoffmann with New Israeli Opera; and Amonasro in Aïda with Opera de Caracas in Venezuela.

In North America his more recent performances have also included Jokanaan in Salome at the San Francisco Opera, San Diego Opera, Santa Fe Opera, Vancouver Opera, Michigan Opera Theater, and Arizona Opera; Scarpia in Tosca with Seattle Opera, San Diego Opera, L’Opera de Montreal, Portland Opera, Pittsburgh Opera, New Orleans Opera, and Opera Colorado; Mephistopheles in Faust at the San Diego Opera, New Orleans Opera, and in a new production with Arizona Opera; Don Pizzarro in Fidelio with Opera Company of Philadelphia and Portland Opera; Jack Rance in La Fanciulla del West with Seattle Opera; the title role of Macbeth with Vancouver Opera and Opera Lyra Ottawa; Amonasro in Aida with Portland Opera; the High Priest in Samson et Dalila with San Diego Opera;  and Claggart in Billy Budd with Pittsburgh Opera.

Also an active concert artist, Mr. Grimsley made his New York Philharmonic debut as Don Pizzaro in Fidelio with conductor Kurt Masur at the inaugural season of the Lincoln Center Festival.  Additional concert engagements have included Verdi’s Requiem with the Atlanta Symphony at Carnegie Hall; Beethoven’s Symphony No. 9 with the Seattle Symphony and San Antonio Symphony; the High Priest in Samson et Dalila with Washington Concert Opera; Don Pizzarro in Fidelio with the Saint Louis Symphony; and Scarpia in Tosca with Deborah Voight and the Minnesota Orchestra.

Mr. Grimsley first came to international attention as Escamillo in the Peter Brook production of La Tragédie de Carmen, which he has sung in venues around the world, including his Italian debuts at the Festival dei Due Mondi in Spoleto and the Teatro Comunale di Bologna. He also performed Escamillo in Bizet’s Carmen with the Seattle Opera, Baltimore Opera, Opera Company of Philadelphia, Vancouver Opera, Edmonton Opera, the St. Louis Symphony, the Teatro Real, the Grand Théâtre de Genève, the Scottish Opera, Milwaukee Symphony Orchestra, and at the Bregenz Festival in Austria.

He made his Metropolitan debut as Captain Balstrode in Peter Grimes, and has subsequently returned in performances as Escamillo in Carmen, Jokanaan in Salome, and Scarpia in Tosca.  He created the role of Canyka in the world premiere of Ashoka’s Dream with Santa Fe Opera and performed the Count de Luna in the American premiere of Verdi’s French-language version of Il Trovatore, Le Trouvère. He has also performed at the Wexford Festival in Ireland as Richard Lionheart in Marschner’s Der Templer und Die Juden.

 

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