Gordon Gietz





Gordon Gietz



Originally from Alberta, tenor Gordon Gietz has established an international reputation collaborating with the most highly regarded conductors and directors in the operatic arena.  Hedebuted at the Opéra National de Paris as Don Ottavio in Don Giovanni and returned in subsequent seasons as Cassio in Otello under the baton of Valery Gergiev and Tamino in Die Zauberflöte. At the Paris Opera’s Bastille Theatre, Gietz created the character of Yonas in the  world première of Kaija Saariaho’s Adriana Mater, a production directed by Peter Sellars and conducted by Esa-Pekka Salonen, and later appeared as Yonas in the UK première of the work at London’s Barbican with the BBC Symphony under the direction of Edward Gardner. He made his debut at Opéra de Lyon as Camille in La Veuve Joyeuse (recently released on DVD), returning for the Laurent Pelly production of Le Roi Malgré Lui in Lyon and at the Opéra Comique in Paris.

Gietz made his La Scala debut as Chevalier de la Force in Dialogues des Carmélites and returned for Robert Carsen’s production of A Midsummer Night’s Dream as Lysander, which was his debut role at Glyndebourne Festival Opera in the acclaimed staging of Sir Peter Hall and at the Gran Teatre del Liceu, performances that were later released on DVD.

In London, Gietz created the role of Stingo in Nicholas Maw’s Sophie’s Choice at Covent Garden  with Sir Trevor Nunn and Sir Simon Rattle and reprised the role for the North American première in Washington, DC. He returned to Covent Garden for performances of Sir Michael Tippett’s The Midsummer Marriage.

A frequent visitor to the Benelux, the Canadian tenor created the role of Ananda in Harvey’s Wagner Dream with performances in Luxemburg, Amsterdam and Paris.  He made his debut at La Monnaie in Brussels in the acclaimed Andrea Breth staging of Kat’a Kabanová, returning for Narraboth in Salome.  Amsterdam productions include Die Zauberflöte, Der Schatzgräber, Salome and Prokofiev’s The Gambler

Other highlights include Steva in Jenufa at the Grand Théâtre de Genève, Châtelet in Paris and Madrid’s Teatro Real, the title role in Les Contes d’Hoffmann in Marseille, Montréal, Amsterdam and Rotterdam, Duca in Rigoletto in Beijing, Taipei and Hanoi, Don José in Carmen in Montréal, Birmingham and Lille, and Béatrice et Bénédict with the New York Philharmonic, Orchestre du Capitole de Toulouse, Teatro Communale in Bologna and the Santa Fe Opera. Mr. Gietz made his debut at the Metropolitan Opera in New York City in the title role of Shostakovich’s The Nose, a new production by the acclaimed director and visual artist William Kentridge under the musical direction of Valery Gergiev.

September 2016





Beethoven Florestan FIDELIO
Berg Tambourmajor WOZZECK
 Bizet Don José CARMEN
Britten Peter Grimes
Male Chorus
Peter Quint
Captain Vere
Floyd Sam Polk
Harbison Gatsby THE GREAT GATSBY
Janáček Steva, Laca
Offenbach Hoffmann LES CONTES D’HOFFMANN
Shostakovich Sergei
Strauss, J. Eisenstein DIE FLEDERMAUS
Strauss, R. Italian Tenor
Stravinsky Oedipus OEDIPUS REX
Wagner Erik




“In the much smaller but telling roles of the Police Inspector and the Nose itself, Andrei Popov and Gordon Gietz — also making Met debuts — wield their piercing high-tenor voices strongly.”

“… tenor Gordon Gietz, another debutant, excelled in the confrontation at Kazan Cathedral when the nose, outfitted in a uniform of higher rank than Kovalyov’s, dismisses its owner contemptuously.”

“Although the Nose mostly runs about the stage inside a papier-mâché costume, the character has one small, crucial sung scene, when it is confronted by the aggrieved Kovalyov. The lyric tenor Gordon Gietz, in his Met debut, sang it urgently.”
The New York Times

“Another debuting tenor, Gordon Gietz, gave sharp utterance to the few lines written for the Nose.”
The Associated Press

Gordon Gietz scored a major triumph in Nationale Reisopera’s new Les Contes d’Hoffmann, seen in Utrecht Nov. 13. Not only did he sing throughout with total vocal command and excellent French, he gave the production a gratifying coherence usually lacking in Offenbach’s unfinished masterpiece.
Opera Canada

“The Nationale Reisopera presented the best Contes d’Hoffmann I have attended anywhere (November 13). (…) The singing of the principal roles was memorable. Young and idealistic, Gordon Gietz seems a perfect Hoffmann, coping with all the heroic, poetic and bitter aspects of his music with radiant tone and excellent French. (…) A full audience rapturously greeted this glorious production: opéra fantastique indeed.”

“Gordon Gietz is a valiant Mazal…” (The Excursions of Mr Broucek)
Financial Times

“…in the smoothly voiced Gordon Gietz, the Reisopera has a strong interpreter of that demanding role…”

“The tenor Gordon Gietz, flexible of voice and gesture, proves himself to be a convincing Hoffman. The Canadian is blessed with a pleasant timbre.”
De Telegraaf

“… Gordon Gietz is a lithe, energetic Yonas.”
Financial Times

“Gordon Gietz’s Lysander stands out for his suave ardor …” (DVD Review)
Time Out New York

“… Cora Burggraaf (Bella) and Gordon Gietz (Jack) make a big impression …”
What’s On

“…the Canadian tenor Gordon Gietz as Jack makes a charming and mellifluous partner.”
The Mail on Sunday

“Yet it is Bella and Jack who take the stage for a greater proportion of the opera, and here Cora Burggraaf and Gordon Gietz excel in assumptions – both superbly sung – that recognise the social convention holding back their respective characters …”

“Gordon Gietz se révèle un Don José plus idique, jeune et tout simplement sublimé par la beauté de la bohémienne.”
[Gordon Gietz reveals himself to be a more classical Don José, young and simply sublimated by the beauty of the bohemian.]Métro

“L’ex-Montréalais Gordon Gietz, au français très soigné lui aussi, campe un Don José très jeune, très naïf (comme il se doit) troublé par cette bohémienne depuis l’instant où il l’aperçoit jusqu’à la dernière page de l’opéra où , fou de jalousie, il la tue. Gietz fait bien passer dans toute la salle (comble samedi soir) une voix toujours agréable et juste.”
[The former Montrealer Gordon Gietz, who’s French is also first-rate, plays a very young Don José, very naive (as it should be) troubled by the bohemian from the moment he sees her right up until the very last page of the opera where, crazed by jealousy, he kills her. Gietz fills the entire theatre (full on Saturday night) with a voice that is always pleasant and in tune.]La Presse

“Als Hoffmann überzeugte Gordon Gietz durch geschmeidige Kantabilität ebenso wie durch Intensität des gesanglichen Ausdrucks.”
[Gordon Gietz impressed in the role of Hoffmann with his cantabile singing as well as with the intensity of his vocal expression.]Opernwelt

“Gordon Gietz est lui aussi un fin interprète : sexy et tendre, irrésistiblement jeune, son Hoffmann est d’autant éperdu. Vocalement, il surmonte la longueur du rôle et sa haute tessiture sans jamais perdre le fil d’un français bien articulé.”
[Gordon Gietz is too a fine interpreter : sexy and tender, irresistibly young, his Hoffmann is equally bewildered. Vocally, he surmounts the length of the role and its high tessatura without losing the thread of a well articulated French.]Le Monde de la Musique

“Ils entendront le jeune ténor américain (sic), Gordon Gietz, chanter avec raffinement et une voix splendide le difficile rôle d’Hoffmann.”
[They will hear a young American tenor (sic), Gordon Gietz, sing with refinement and a splendid voice the difficult role of Hoffmann]La Croix

“Clearly, Mr. (Jonathan) Miller’s playful contemporary imagery resonated with the cast, for they delivered breezy, dynamic and musically elegant portrayals.”
“.. he (Gordon Gietz) brought an engaging youthful ardor to his portrayal of Ferrando.”
The New York Times

“Gordon Gietz’s Fritz and Kevin Glavin’s irrepressibly energetic and humorous General Boum were among the star solo turns.”

“Tenor Gordon Gietz was her (Stephanie Blythe) equal as Fritz, the object of her out-of-bounds lust. His buoyant singing and athletic acting made the Grand Duchess’ attraction to him thoroughly understandable.”
Chestnut Hill Local

“Gordon Gietz, Alfred de premier ordre …”
[Gordon Gietz, first rate Alfred …]Opéra International

“… Mary Dunleavy et l’Alfred bien chantant de Gordon Gietz leurs volaient donc la vedette …”
[…Mary Dunleavy and the well-sung Alfred of Gordon Gietz stole the show …]La Croix

“Le couple Varvara (Dagmar Peckova) et Koudriache (Gordon Gietz) se distingue par son jeu et ses voix alliant l’éclat à la grâce.”
[The couple Varvara (Dagmar Peckova) and Koudriache (Gordon Gietz) sets itself apart by its acting and voices uniting brilliancy and grace.]Le Temps

“Gordon Gietz’s feckless Steva sang and acted with white-hot energy, and in Act II he suggested a fascinatingly frosty ambivalence to the birth of his son.” (Théâtre du Châtelet)
Opera News

“Le Steva de Gordon Gietz, hâbleur et vain, a ce qu’il faut de lâcheté dans le regard et de terreur dans la voix.”
[The Steva of Gordon Gietz, boaster and vain, has what is needed of cowardice in the eyes and terror in the voice.]Res Musica.com

“Gordon Gietz was suitably arrogant as Steva.”
Herald Tribune

“Isolemment doré, le Steva du ténor canadien Gordon Gietz n’a de rival que le Laca de Stefan Margita, à l’émission, la projection et au legato exceptionnels, mais surtout à la couleur naturellement idiomatique.”
[Uniquely golden, the Steva of Canadian tenor Gordon Gietz has no other rival except the Laca of Stefan Margita, in terms of production, projection and exceptional legato, but above all in terms of his idiomatic natural color.]Libération

“Le Steva de Gordon Gietz, bravache et futile, possède ce qu’il faut de lâcheté revendiquée et de terreur sacrée.”
[The Steva of Gordon Gietz, falsely brave and futile, possesses what is needed of cowardice and terror.]Le Monde

“Le Steva du Canadien Gordon Gietz, donnerait du brio à la lâcheté”.
[The Steva of Canadian Gordon Gietz, makes cowardice brilliant.]Le Figaro

“Gordon Gietz (Steva), coq du village à la voix claire et brillante, au physique avantageux, …”
[Gordon Gietz (Steva), the cock of the walk with a clear and brilliant voice, a favorable physique …]Les Échos

“Mention spéciale également à Gordon Gietz (Steva) …”
[Special mention also of Gordon Gietz (Steva) …]Concerto Net.com

“The opera’s the thing, though, here conducted by (Sir Colin) Davis with the skills of a master lapidarian and handsomely sung by Susanne Mentzer (Béatrice), Gordon Gietz (Bénédict), …”
New York Magazine

“So, the tenor Gordon Gietz, who sang Bénédict, (…), was doubled by the actor David Hyde Pierce (of “Frasier” fame), who portrayed Bénédict in the episodes of spoken dialogue. Those two artists played off each other charmingly. One example was the scene in which Mr. Pierce hid himself beside the conductor’s podium so that he could eavesdrop on a conversation revealing that the defiantly single Béatrice in fact loved him. (The conversation is actually a ploy.) As Mr. Pierce listened bug-eyed, he motioned to the wings for Mr. Gietz to come onstage, as if to say, “You’d better hear this.” So Mr. Gietz, a dashing and lively young performer, snaked his way warily through the violin section so he could sit nearby and listen too.”
The New York Times

“Most impressive still is Camille’s return-from-the-dead, pseudo-Baroque aria. Written in Handelian counter tenor range, it is phenomenally sung by Gietz and a highlight of the opera.”
La Jolla Village News

“As his naïve and boyish victim, Gietz proved fearless in high notes and fortissimo passages.”
The San Diego Union-Tribune

“… fabulous Canadian tenor Gordon Gietz as nerdy Camille Raquin, the sacrificial lamb who returns as a soppy spook in Act Two after being spectacularly drowned in Act One…”
San Diego Magazine

“Gordon Gietz was robust as young Stingo.”
The New Yorker

“… the Southern writer Stingo (sweetly acted and sung by the Canadian Gordon Gietz) …”

“Gordon Gietz as the sweetly reliable Stingo has perhaps the most ardent music to sing, and seizes it gratefully.”
The Independent Review

“Mr. Gietz is charming and sympathetic as young Stingo, singing with lyrical ardor yet anguished power when challenged by Nathan or in despair over Sophie.”
The New York Times

“Canadian tenor Gordon Gietz captured the vulnerability and charm of Stingo and sang eloquently.”
The Sun (London)

“Le ténor Gordon Gietz et le baryton Rodney Gilfry sont formidables de présence physique et de précision musicale.”
[The tenor Gordon Gietz and the baritone Rodney Gilfry are formidable in their stage presence and musical precision.]Le Monde