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Allan Glassman

Tenor

Tenor Allan Glassman has thrilled audiences throughout America and Europe for decades with his vibrant timbre and committed interpretations of roles. Critics exclaim “his very presence on stage made those around him sound better.” A regular at The Metropolitan Opera, Mr. Glassman triumphed as Herod in a production of Salome and has since been heard in The Met’s productions of Billy Budd as Red Whiskers; Die Frau ohne Schatten as The Hunchback Brother; Salome as the First Jew; Lady Macbeth of Mtsensk District as The Shabby Peasant; and in productions of Boris GodunovThe Great Gatsby, CarmenElektra, Káťa KabanováThe Ghost of Versailles, Mussorgsky’s Khovanshchina, and Wozzeck.

Sep
2017

Sep-27
to
Oct-14
Die Zauberflöte
The Metropolitan Opera
New York, NY
Nov
2017

Nov-25
to
Dec-09
The Magic Flute
The Metropolitan Opera
New York, NY
Dec
2017

Dec-18
to
Jan-06
Hänsel und Gretel
The Metropolitan Opera
New York, NY
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…proved a powerful foil…
Salome “Glassman’s Herod proved a powerful foil for Racette’s Salome. Even as he pleaded for her attention, his virile, textured voice had the authority of a man used to being obeyed.” Chicago Classical Review 
…played the Witch lustily and hilariously…
 Hansel and Gretel – “Dramatic tenor Allan Glassman, sounding like a top-flight Salome Herodes and looking like Julia Child gone mad, played the Witch lustily and hilariously.”  Opera News 
…seemed to come from his heart and soul…
 Salome “As Herod, tenor Glassman’s contribution was huge. Initially in his Christmas cracker crown and floral suit he appeared to be the typical party inebriate. However his vocal assurance and depth of character grew as he awoke to the consequences of promising Salome anything if she danced for him. His fear and distress seemed to come from his heart and soul.” Independent Online
…voice…like a force of nature…
Otello“The big star as Otello is tenor Allan Glassman, veteran of the Metropolitan Opera stage, whose cannon of a voice filled Shaftman Performance Hall like a force of nature. Glassman is a full-on Verdian tenor. This is no Rossini or Mozart specialist who was pulled in for a role with bigger shoes than he could vocally fill. Glassman is more than equal to the demands of the role, conveying Otello’s pain and suspicion vividly.” – The Roanoke Times
…singing at its finest, sheer beauty and musical expression…
Carmen “To me, however, the memorable moment of the evening was his interpretation of the ‘Flower Song’ aria, la fleur que tu m’avais jetee, sung in the second act. This was singing at its finest; sheer beauty and musical expression. Perhaps what Bizet had in mind… Glassman’s Don Jose was, simply put, marvelous. His command of the role was never in doubt and his very presence on stage made those around him sound better. The voice was strong and carried well. He had a competent control over the entirety of his range in both quality and dynamics.” Post Crescent
Tenor Allan Glassman has thrilled audiences throughout America and Europe for decades with his vibrant timbre and committed interpretations of roles. Critics exclaim “his very presence on stage made those around him sound better.” A regular at The Metropolitan Opera, Mr. Glassman triumphed as Herod in a production of Salome and has since been heard in The Met’s productions of Billy Budd as Red Whiskers; Die Frau ohne Schatten as The Hunchback Brother; Salome as the First Jew; Lady Macbeth of Mtsensk District as The Shabby Peasant; and in productions of Boris Godunov, The Great Gatsby, Carmen, Elektra, Káťa Kabanová, The Ghost of Versailles, Mussorgsky’s Khovanshchina, and Wozzeck.

Mr. Glassman has performed the role of Herod in Salome to wide acclaim in opera venues throughout the world. Critics wrote: “His fear and distress seemed to come from his heart and soul.” Some notable engagements as the patriarch include productions with San Diego Opera, Fort Worth Opera, Opera San Antonio, the Ravinia Festival (under the baton of Maestro James Conlon), with Cape Town Opera in Cape Town, South Africa, and most recently with Los Angeles Opera. This season, he returns to The Metropolitan Opera for their productions of Die Zauberflöte and Hänsel und Gretel.

Mr. Glassman’s impressive career includes many titular roles in some of opera’s most notable works, including Samson in Samson et Dalila at the former Opera Pacific, Sacco in Sacco and Vanzetti at the Tampa Bay Performing Arts Center, Hoffmann in Les contes d’Hoffmann, and Idomeneo at Los Angeles Opera, where he was double cast with the esteemed Plácido Domingo. Hailed as the Otello of his generation: “Glassman is a full-on Verdian tenor… Glassman is more than equal to the demands of the role, conveying Otello’s pain and suspicion vividly.” In past seasons, he has performed the role with Opera Company of Philadelphia, Arizona Opera, Palm Beach Opera, Dallas Opera, Des Moines Metro Opera, and at Chautauqua Opera. Other highlights from his leading roles résumé include Don José in Carmen, Cavardossi in Tosca, and Pinkerton in Madama Butterfly with New York City Opera; and Canio in Pagliacci with Arizona Opera, Chautauqua Opera, Palm Beach Opera, and Nashville Opera.

Additional engagements from recent seasons include the roles of Herald in Assassinio nella cattedrale and Shuisky in Boris Godunov with San Diego Opera; Nick in La fanciulla del West and Monsieur Taupe in Capriccio in his début at Santa Fe Opera; Pollione in Norma with Palm Beach Opera; Walter Engelmann in Frau Margot with Fort Worth Opera; Dick Deadeye in H.M.S. Pinafore with Arizona Opera; The Witch in Hänsel und Gretel with Portland Opera; Boris in Kát’a Kabanová, Shuisky in Boris Godunov, and Caláf in Turandot all with Florida Grand Opera; and productions of Wozzeck, Das Rheingold, and Elektra with Lyric Opera of Chicago.

International performances include Manrico in Il trovatore with the Deutsche Oper Berlin; Samson in Samson et Dalila at the New Israeli Opera in Tel Aviv; the Prince in Rusalka in the Czech Republic; title role in Verdi’s Ernani, Don José in Carmen, and I vespri siciliani with L’Opéra de Nice; I vespri siciliani with Den Norske Opera; Cavaradossi in Tosca at the Belleayre Music Festival; Carmen with Opera Valencia in Spain; and the Prince in Rusalka with Oper Frankfurt.

Sought after by orchestras, both domestic and international, Mr. Glassman maintains an active concert calendar. Notable engagements include: Prince Osaka in Mascagni’s Iris with the Münchner Philharmoniker, Verdi’s Requiem with L’Opéra de Nice, Mahler’s Lied von der Erde with the Orquesta Sinfónica de Xalapa in Mexico, Rusalka with The Fort Worth Symphony, Erik in Der fliegende Holländer in concert with the Syracuse Opera, Das Lied von der Erde with Grand Rapids Symphony, and Boito’s Mephistofele with Boston Concert Opera.

 

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