Internationally acclaimed for his rich voice with thrilling top notes, Canadian tenor David Pomeroy is enjoying a career in the spotlight on some of the world’s most important opera stages and concert halls. The Newfoundland native made his Metropolitan Opera debut in the title in Les contes d’Hoffmann opposite soprano Anna Netrebko under the baton of Maestro James Levine, followed by appearances in the title role of Gounod’s Faust. Mr. Pomeroy had previously sung Faust with bass James Morris as Mephistofeles in the annual “Met in the Parks” concert series.
He begins the 2017-2018 season with his role debut in Tannhäuser, a new production at the Köln Opera. Seattle audiences hear him as Radames in Aida, Pinkerton in Madama Butterfly marks his return to Manitoba Opera and he caps his year with Peter Grimes for the Vancouver Symphony. He will be featured in Christmas concerts in his hometown of St. John’s, Newfoundland and celebrates New Year’s at Roy Thomson Hall in Bravissimo, an opera gala.
Last season, Pomeroy made his role debut as Calaf in Turandot for Edmonton Opera and his house debut with Oper Köln as Florestan in Fidelio. In Vancouver he was heard in Verdi’s Requiem Mass followed by Braunfel’s Te Deum for the Warsaw Philharmonic. He also appeared with the Colorado Symphony in Beethoven’s Symphony No. 9 and Grant Park Festival in Martin’s In terra pax.
In the 2015/2016 season, Mr. Pomeroy starred as Paul in Die tote Stadt with both Oper Frankfurt and Calgary Opera. He appeared as Don José in Carmen for the Canadian Opera Company with concert appearances in Mahler’s Symphony No. 8 with Calgary Philharmonic, Beethoven’s Symphony No. 9 with Vancouver Symphony and Janacek’s Glagolitic Mass with Orchestre Metropolitain du Grand Montréal under the baton of Yannick Nézet-Séguin.
With the Canadian Opera Company in Toronto he has performed the title roles in both Faust and Les contes d’Hoffmann as well as Rodolfo in La bohème, Pinkerton in Madama Butterfly and Alfred in Die Fledermaus. Notably, Mr. Pomeroy created the role of Stefano for the world premiere of Filumena with Calgary Opera with remounts in Banff, Ottawa and Edmonton.
Career highlights include Les Vepres Siciliennes with the Royal Danish Opera, Fidelio for Manitoba Opera, Carmen with Staatsoper Stuttgart, Opera Australia, Lyric Opera of Kansas City, Vancouver Opera, Cork (Ireland) and Pacific Opera Victoria, Erik in Der Fliegende Holländer for Calgary Opera and Madama Butterfly with Lyric Opera of Kansas City, Opera Theatre of Saint Louis, Fort Worth Opera, Connecticut Lyric Opera, Michigan Opera and Opéra de Québec, Alfredo (La traviata) with Vancouver Opera and New York City Opera, Macduff (Macbeth) with Edmonton Opera, Cavaradossi (Tosca) with Opéra de Montréal, Ottawa Lyra, Vancouver Opera, Il Duca (Rigoletto) with Calgary Opera, Opéra de Montréal and Manitoba Opera, Hoffmann (Les contes d’Hoffmann) with Florida Grand Opera and Edmonton Opera, Ruggero (La Rondine) with Michigan Opera, Edgardo (Lucia di Lammermoor) with Calgary Opera, Roméo (Roméo et Juliette) with The Metropolitan Opera, Pollione (Norma) with Pacific Opera Victoria and Ladislov (The Two Widows) with Scottish Opera performed both at the Edinburgh Festival and in Glasgow. Toronto Symphony audiences heard him in Beethoven’s Symphony No. 9 and he sang Verdi’s Requiem with Jacques Lacombe for Orchestre symphonique de Trois Rivières.
|Janaček||Skeratov||FROM THE HOUSE OF THE DEAD|
|Gounod||Roméo||ROMÉO ET JULIETTE|
|Korngold||Paul||DIE TOTE STADT|
|Offenbach||Hoffman||LES CONTES D’HOFFMAN|
|Smetana||Ladislov||THE TWO WIDOWS|
|Stravinsky||Male Chorus||RAPE OF LUCRETIA|
|Henri||LES VEPRES SICILIENNES|
|Beethoven||SYMPHONY NO. 9|
|Britten||SERENADE FOR TENOR HORN AND STRINGS
|Elgar||DREAM OF GERONTIUS|
|Mahler||DAS LIED VON DER ERDE|
|Schubert||MASS IN G|
“…a powerful, agile tenor…heartfelt”
The New York Times
As Don José in Carmen
“David Pomeroy’s voice brought life, depth and breadth to Don José, while his descent into obsession was believable and heartfelt.”
“…glowing renderings of some of Bizet’s most beautiful arias. His ‘flower song’ in Act II, …was a lyrical moment…captured magnificently. Then his performance reached greater heights in Act IV with his tortured, and pulsating pleading, a lover driven to his wit’s end by the taunting of Carmen.”
Capital Critics’ Circle
“David Pomeroy, as Don José, was magnetic. His dark good looks and impressive acting skills made for a tragic hero. The voice is a beautiful one, with a seamless sound. There is plenty of power when the moment arrives to use that power, and a decided bravura in its use. The final confrontation in Seville belonged entirely to the tenor, who gave full vent to the desperation and rage of the hapless soldier. On the other hand, his use of soft singing was remarkable, displaying amazing tenderness in the duet with Michaëla, ending in a beautifully floated high phrase.”
“David Pomeroy’s Don José had a new-car smell: The voice was fresh and unlabored with a particularly gratifying bloom in the upper range.”
“In La fleur que tu m’avais jetée, he was wonderfully expressive and passionate…He reached the demanding high notes with smooth ease…Totally compelling as a ruined man, Pomeroy’s sublime sorrow was palpable.”
Winnipeg Free Press
As Erik in Der Fliegende Holländer
“David Pomeroy was simply great all night…He simply nails the part of Erik, embodying the role in voice and action.”
As Hoffmann in Les Contes d’Hoffmann
“Pomeroy has a gorgeous, well-dimensioned voice and he plays his role believably…”
“His voice is a husky one that he covers or not at will below the passagio – this is Hoffmann as a bit of a brute.”
As Alfred in Die Fledermaus
“David Pomeroy exudes brio as Alfred…”
As Cavaradossi in Tosca
“Newfoundland’s Pomeroy is also blessed with one of those effortless, ringing tenors that make Giacomo Puccini’s mellifluous music flow like the finest Brolo. His famous final-act goodbye aria, E lecevan le stele, brought the house down.”
“I was absolutely enraptured by David Pomeroy’s performance. His voice is flawless…”
“…the tenor David Pomeroy as Mario Cavaradossi brought tears to my eyes. [During] Cavaradossi’s lament in Act III…Pomeroy’s voice almost broke with emotion. That moment was so real, so immediate and deeply felt that I sat up in my chair and was spellbound for the rest of the piece.”
As Il Duca in Rigoletto
“Difficile de resister à une voix aussi chaude et muscle que la sienne, double d’un grand charisma, surtout quand i entonne La donna è mobile, pièce archi-connue de Rigoletto.”
as Alfredo in La traviata
“…David Pomeroy whose caramel-hued tenor allowed each note to stretch out in a buttery blend of dark and light…Pomeroy also knocked his Act II aria out of the park with a dolce tone and lusty immediacy, charging into an agitated cabaletta”
“…snag splendidly, with emotional nuance and detailed revelation. He has a generous voice with a slight spinto edge, taking on Alfredo’s journey from passionate lover, to tamed ardor, rejection and then a final acceptance. Pomeroy handled the complex arc masterfully.”
Berkshire Fine Arts