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[audio: http://www.uzanartists.com/wp-content/uploads/2015/07/CONDY_Falstaff_NJOT.mp3]
Title role in Verdi’s Falstaff

[audio: http://www.uzanartists.com/wp-content/uploads/2017/07/Condy.S.Barber-of-Seville.Don-Bartolo.A-un-dottor-della-mia-sorte2.4.2010.mp3]
Don Bartolo in Rossini’s The Barber of Seville

[audio: http://www.uzanartists.com/wp-content/uploads/2015/07/CONDY_Elixir_Washington.mp3]
Dulcamara in Donizetti’s L’elisir d’amore


Title role in Verdi’s Falstaff


Don Bartolo in Rossini’s The Barber of Seville


Dulcamara in Donizetti’s L’elisir d’amore

Steven Condy

Baritone

Steven Condy enjoys a career filled with notoriety and acclaim for his creative portrayals of the great “buffo” roles, and is admired not only for his robust and nuanced voice, but also for his natural acting ability.  The Washington Times enthused that he has “the comic timing of John Candy and a voice that remains flexible, rich and true through every intricacy,” and Anthony Tomassini of the New York Times offered that he would “vote the prize for the most naturally clear diction of the cast to the hardy baritone Steven Condy.” This season, Mr. Condy will reprise the title role of Falstaff with Intermountain Opera Bozeman and the title role of Don Pasquale with the Brevard Festival Orchestra, and will join the esteemed roster of The Metropolitan Opera for their production of La bohème.

Apr
2017

Apr-30
to
May-06
La Cenerentola
Don Magnifico
Opera Delaware
Wilmington, DE
May
2017

May-24
to
May-28
L’elisir d’amore
Dulcamara
Lyric Opera of Guatemala
Guatemala City, Guatemala
Jun
2017

Jun-29
to
Jul-01
Don Pasquale
Don Pasquale
Brevard Music Festival
Brevard, NC
Oct
2017

Oct-02
to
Nov-04
La bohème
The Metropolitan Opera
New York, NY
May
2018

May-11
to
May-13
Falstaff
Falstaff
Intermountain Opera Bozeman
Bozeman, MT
Please click below to see full quote

…musico-comedic genius…
Il barbiere di Siviglia“The most delightfully surprising and truly brilliant performance, however, came from baritone Steven Condy as Don Bartolo. This character is often played either as a doddering fool or just a mean old guy, resulting in a mono-dimensional secondo role. Condy’s approach, however, was musico-comedic genius. It was as if Walter Barry were singing Peter Boyle playing the Godfather. The agility of his voice, not only in negotiating the vocal roller-coasters, but also in creating comically nuanced coloring, combined with his clumsily agile physicality and an edgy-but-not-threatening delivery of the role as a whole, stole the show. Based on his performance, the opera might well be re-titled Don Bartolo.”The Boston Musical Intelligencer
…nearly stole the show…
La Cenerentola – “Baritone Steven Condy nearly stole the show as the boorish Don Magnifico. He virtually blended into the role with his hardy voice and outstanding acting.”Newsworks 
…inherent beauty…
 Falstaff “Dominating the proceedings was Steven Condy’s hilariously larger-than-life yet totally believable and sympathetic Sir John. Condy never let his skillful embodiment of the fat knight’s physical and behavioral grotesqueries affect the inherent beauty of his singing; his warm, manly tone, fine legato and ready mezza voce reminded one just how squarely within the bel canto tradition the role of Falstaff lies.”  – Opera News 
…deliciously comedic…
 L’elisir d’amore “The most deliciously comedic role is that of Dr. Dulcamara, who has some of the funniest songs in the opera. Steven Condy managed them with aplomb….”  – Arizona Daily Star 
…impeccable timing…
Don Pasquale “Steven Condy (singing the title role) is an outstanding singing actor and comedian. Condy’s impeccable timing made for some especially hilarious moments. His rapid-fire patter duet in the last act was a highlight; both men deftly conveyed the comedy of the situation not just physically, but also vocally.” – The Salt Lake Tribune
Steven Condy enjoys a career filled with notoriety and acclaim for his creative portrayals of the great “buffo” roles, and is admired not only for his robust and nuanced voice, but also for his natural acting ability.  The Washington Times enthused that he has “the comic timing of John Candy and a voice that remains flexible, rich and true through every intricacy,” and Anthony Tomassini of the New York Times offered that he would “vote the prize for the most naturally clear diction of the cast to the hardy baritone Steven Condy.” This season, Mr. Condy will reprise the title role of Falstaff with Intermountain Opera Bozeman and the title role of Don Pasquale with the Brevard Festival Orchestra, and will join the esteemed roster of The Metropolitan Opera for their production of La bohème.

Renowned for his interpretation of Dr. Bartolo in Il barbiere di Siviglia, recently, the Boston Music Intelligencer raved of his “most delightfully surprising and truly brilliant performance…the agility of his voice, not only in negotiating the vocal roller-coasters, but also in creating comically nuanced coloring, combined with his clumsily agile physicality and an edgy-but-not-threatening delivery of the role as a whole, stole the show. Based on his performance, the opera might well be re-titled Don Bartolo.”  He performed the role at Houston Grand Opera, San Francisco Opera, Washington National Opera, Boston Lyric Opera, Toledo Opera, Portland Opera, Madison Opera, Opera Memphis, Virginia Opera, Sarasota Opera, Austin Lyric Opera, and Lyric Opera Baltimore among many others. Most recently, he performed the role in his house début at Opera Carolina.

The title role in Verdi’s Falsaff is another signature role in Mr. Condy’s repertoire, which he performed at companies such as Utah Opera, Indianapolis Opera, Chautauqua Opera, Kentucky Opera, Opera San José, and most recently, Opera Delaware. Of his Falstaff, Opera News hailed: “Dominating the proceedings was Steven Condy’s hilariously larger-than-life yet totally believable and sympathetic Sir John. Condy never let his skillful embodiment of the fat knight’s physical and behavioral grotesqueries affect the inherent beauty of his singing; his warm, manly tone, fine legato and ready mezza voce reminded one just how squarely within the bel canto tradition the role of Falstaff lies.” He is also in demand as Don Magnifico in La Cenerentola, a role he performed at Madison Opera, Portland Opera, Opera Delaware Utah Opera, Memphis Opera, Florentine Opera, Lyric Opera Kansas City, and Austin Lyric Opera.

Other notable engagements from his extensive career include: Sacristan in a new production of Tosca with the Houston Grand Opera; Betto in Gianni Schicchi in a new production with Los Angeles Opera directed by Woody Allen, followed by his European opera début in the same production with the Spoleto Festival dei Due Mondi; the title role in Don Pasquale with Opera New Jersey, Utah Opera, Calgary Opera, Opera on the James, Opera Naples, and Edmonton Opera;  Benoit/Alcindoro in La bohème with Dallas Opera and Opera Company of Philadelphia; Dulcamara in L’elisir d’amore with Chautauqua Opera, Washington National Opera, Arizona Opera, and Lyric Opera of Guatemala among others; Baron Zeta in The Merry Widow with Washington National Opera; Sulpice in La fille du régiment with the San Francisco Opera and Opera Lyra Ottawa; Don Alfonso in Così fan tutte with Arizona Opera and Hawaii Opera Theater; Tevya, the lead role of Fiddler on the Roof with Shreveport Opera; and Major General Stanley in The Pirates of Penzance with Arizona Opera.

As a concert artist, Condy graces stages throughout the country earning critical acclaim. From his recent appearance as a soloist in Beethoven’s Symphony No. 9  with the Lincoln Symphony, The Lincoln Journal Star wrote: “Baritone Steven Condy… began the poem that inspired the Ninth, his powerful voice booming through the hall.” He later performed the bass solo again with Asheville Symphony. Additional highlights of concert appearances include Händel’s Messiah with the Columbus Pro Musica Chamber Orchestra, Masterworks Chorus at Carnegie Hall, South Dakota Symphony Orchestra, and La Orquesta Sinfónica del Principado de Asturias in Oviedo, Spain; the role of Antonio in Le nozze di Figaro with the Minnesota Orchestra, conducted by Jeffrey Tate; Belshazzar’s Feast and Gordon Getty’s Plump Jack with New Mexico Symphony Orchestra; and gala concerts with the Indianapolis Symphony and the Orquesta Sinfónica Sinaloa de las Artes in Mazatlan, Mexico.

Mr. Condy earned accolades and awards from some of the industry’s most prestigious organizations including: The Luciano Pavarotti International Voice competition, The Sullivan Foundation, The Richard Tucker Music Foundation competition, Pope Foundation competition, MacAllister Award competition, the Metropolitan Opera National Council auditions, and the Mario Lanza Institute Scholarship competition. Mr. Condy holds a Bachelor of Music degree from the University of Hartford and a Master of Music degree from Yale University’s School of Music. He is also the Artistic Director of the Cairn University Opera Theater in Langhorne, Pennsylvania

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