Baritone Geoffrey Sirett continues to impress musicians and audiences in debut performances in opera, concert and recital repertoire. A native of Kingston, Ontario, Geoffrey has emerged as one of Canada’s finest young baritones, highly sought-after across the country for a wide range of repertoire.
His charisma as an actor and a singer make him an ideal choice for the leading role in the world premiere of OVERCOAT, a musical version of the stage hit presented by Vancouver Opera, Canstage and Tapestry in the winter of 2018. He also looks forward to his debut on the Four Seasons Centre stage in the Canadian Opera Company productions of ARABELLA and the role of Captain Corcoran in Edmonton Opera’s H.M.S PINAFORE. Sirett returned to Nova Scotia for a repeat of the hit production – THE BELLS OF BADDECK – during the summer of 2016, followed closely by a Banff workshop for the Toronto Symphony’s presentation of Weill’s SEVEN DEADLY SINS scheduled for June of 2017. In 2016-2017, he also appeared as Oreste in ELEKTRA and Ping in TURANDOT for Edmonton Opera, ELIJAH for the Pax Christi Chorale, MESSIAH for the Newfoundland Symphony, Beethoven’s MISSA SOLEMNIS for the Grand Philharmonic Choir and an appearance with the Bach Elgar Choir of Hamilton.
Highlights of the 2015/16 season included Beethoven’s SYMPHONY No. 9 (Orchestre symphonique de Drummondville), Bach’s B-MINOR MASS (Sweetwater Festival), Mussorgsky’s SONGS AND DANCES OF DEATH (Off Centre Music Salon), THE MERRY WIDOW (Edmonton Opera), DAMNATION OF FAUST (Calgary Philharmonic), PRINCE IGOR (VOICEBOX: Opera in Concert), Bach’s MASS IN B MINOR (Ottawa Bach Choir), and a Candlelight Christmas Concert (13 Strings Chamber Orchestra).
Geoffrey’s 2014/15 season included over 70 performances across Canada, highlights of which include John Adam’s THE WOUND DRESSER (Victoria Symphony), Brahms’ REQUIEM (Ottawa Bach Choir), Purcell’s DIDO AND AENEAS (Theatre of Early Music), Handel’s MESSIAH (Winnipeg Symphony) as well as performances with the Talisker Players, Canadian Art Song Project, Orchestra London, Winnipeg Symphony, Victoria Symphony, and Nota Bene Baroque Orchestra. Appearances on the opera stage included Opéra de Montréal’s production of Kevin Puts’ SILENT NIGHT, Wolf-Ferrari’s IL SEGRETO DI SUSANNA with Opera5, and the world-premiere of MacDonald/Burry’s THE BELLS OF BADDECK.
The premiere of James Rolfe’s OPEN ROAD, Brian Current’s AIRLINE ICARUS, Pergolesi’s LA SERVA PARDONA, Dean Burry’s THE BROTHERS GRIMM, Bach’s JOHANNES PASSION, Mozart’s KRÖNUNGSMESSE, Stankar in Verdi’s STIFELLIO, Bach’s WEIHNACHTSORATORIUM, and MESSIAH are works he has performed for Soundstreams, Against the Grain, Canadian Opera Company, Ottawa Choral Society and Choeur St. Laurent. DON GIOVANNI, LE NOZZE DI FIGARO, COSI FAN TUTTE, HANSEL AND GRETEL, ORLANDO, CANDIDE, IL MONDO DELLA LUNA, PAGLIACCI, DER KAISER VON ATLANTIS, GIANNI SCHICCHI, ALBERT HERRING, A MIDSUMMER NIGHT’S DREAM, WEST SIDE STORY, and THE GREAT GATSBY are operas in which he has been featured.
Geoffrey is a graduate of the University of Toronto where he completed a Master’s in Music (Opera). He is the winner of awards and prizes from a number of competitions including the Canadian Conservatory Vocal Competition, Ottawa Choral Society Competition, Czech and Slovak International Voice Competition, Metropolitan Opera National Council Auditions, and he received 2nd place and the “Best Performance of a Canadian Work” Award in the Orchestre Symphonique de Montréal Competition. He is a five-time grant recipient of the Jacqueline Desmarais Foundation, and winner of the Vancouver Opera Guild Career Development Grant.
Winner of the Norcop Song Prize, his recital appearances include performances for the Aldeburgh Connection and Bayfield Festival of Song with pianist Stephen Ralls, Van Cliburn Foundation with composer/pianist Ricky Ian Gordon, and the Chautauqua Institution with pianists Craig Rutenberg and Mikael Eliasen. Collaborating with pianist Stephen Ralls, his first solo album Vagabond is a disc devoted to the works of Vaughan Williams, Butterworth, and Britten as well as premiere recordings of Canadian composers Ivan Barbotin and Jocelyn Morlock. Additional recording’s include Airline Icarus (Naxos: opera by Brian Current), The Heart’s Refuge (Analekta: Theatre of Early Music) and The Vale of Tears (Analekta: Theatre of Early Music).
|Diesel||WEST SIDE STORY|
|Britten||Superintendent Budd||ALBERT HERRING|
|Snug||A MIDSUMMER NIGHT’S DREAM|
|Alexander Graham Bell||THE BELLS OF BADDECK|
|Corigliano||Figaro||THE GHOSTS OF VERSAILLES|
|Current||Business Man||AIRLINE ICARUS|
|Donizetti||Enrico||LUCIA DI LAMMERMOOR|
|Harbison||Nick Carraway||THE GREAT GATSBY|
|Haydn||Ernesto||IL MONDO DELLA LUNA|
|Humperdinck||Peter||HANSEL UND GRETEL|
|Léhar||Danilo||THE MERRY WIDOW|
COSÌ FAN TUTTE
LE NOZZE DI FIGARO
|Nyman||Dr. P||THE MAN WHO MISTOOK HIS WIFE FOR A HAT|
|Offenbach||Lindorf/Schlemil||LES CONTES D’HOFFMAN|
|Pergolesi||Uberto||LA SERVA PADRONA|
|Purcell||Aeneas||DIDO AND AENEAS|
|Puts||William Dale||SILENT NIGHT|
|Ravel||L’Arbre||L’ENFANT ET LES SORTILÈGES|
|Sondheim||Sweeney Todd||SWEENEY TODD|
|Sharman||Dorset||FROM THE HOUSE OF MIRTH|
|Ullmann||Der Tod||DER KAISER VON ATLANTIS|
|Wolf-Ferrari||Count Gil||IL SEGRETO DI SUSANNA|
|Adams||THE WOUND DRESSER|
|Bach||CANTATA 60, 82, 131, 140
JOHANNES PASSION (CHRISTUS)
MASS IN B MINOR
|Beethoven||SYMPHONY NO. 9|
|Eötvös||SNATCHES OF A CONVERSATION|
|Mahler||LIEDER EINES FAHRENDEN GESELLEN|
|Monteverdi||VESPRO DELLA BEATA VERGINE|
|MASS IN D MAJOR|
|REQUIEM IN D MINOR|
|Saint-Säens||ORATORIO DE NOËL|
|Vaughan Williams||DONNA NOBIS PACEM
FIVE MYSTICAL SONGS
“Zoroastro is Orlando’s resident heavyweight. Part puppet master, part dues ex machine, the role demands a commanding vocal presence with deep dramatic undertones. Mr. Sirett has it covered. His is a big, full-bodied voice but one capable of surprising finesse. Bass baritones do not typically sing Baroque trills. Sirett does.”
Opera Going Toronto, Ian Ritchie
“This is the powerful sound of an operatic contender, one that Sirett manages to tame into a golden vehicle for the expressive nuances of art song.”
Vagabond – CD review
“Geoffrey Sirett, a Canadian-born baritone, made the strongest impression. As Count Almaviva, he managed to look and sound dignified.”[Il Conte – Le Nozze di Figaro, Aspen Opera Theater Center]
Seen and Heard International
“Geoffrey Sirett just about brought the house down singing the “Tosca” excerpt with a muscular, powerhouse baritone that held its own in contest with the orchestra’s playing at full throttle.”[Puccini Concert – Buffalo Philharmonic Orchestra and Chorus]
“Geoffrey Sirett provided his Silvio character with a steady, strong bass full of meticulous concentration.”
[Silvio – Pagliacci, Queen’s Opera]
“…baritone Geoffrey Sirett … gave insightful and beautifully nuanced performances. Sirett’s deep, clear baritone traced somber but elegant phrases against the piano’s cloudy jangle of tonal chords.”
(Recital – Songs of Ricky Ian Gordon, Van Cliburn Foundation 2010)Fort Worth Star-Telegram
“Geoffrey Sirett’s rakish, amoral Don provided an eloquent focus, the aristocratic, dismissive treatment of everyone around.”
[Don Giovanni – University of Toronto]
The Vagabond by Ralph Vaughan Williams
With the Edmonton Symphony
Geoffrey Sirett joins the Edmonton Symphony on February 11 to sing Fauré Requiem. Conducted by Jean-Marie Zeitouni, with the Richard Eaton Singers.
With the Edmonton Opera
Geoffrey Sirett joins the Edmonton Opera on March 11, 14, and 16 singing the role of Orest in Strauss’s Elektra.