Gregory Dahl


Gregory Dahl


Canadian Citizen

Gregory Dahl has attained a position of prominence among baritones of his generation with performances notable for richness of characterization and a remarkable vocal authority. His June 2015 debut as Count Tomsky in THE QUEEN OF SPADES for English National Opera was notable for “a splendidly oily and corrupt Count Tomsky” while the press hailed his “appealingly lyrical baritone [that] emphasized Golaud’s inner turmoil over his villainy” in Opera Theatre of St. Louis’s PELLEAS ET MELISANDE.

Dahl returned to Opera Theatre of St. Louis for the summer of 2016, starring in the World Premiere of SHALIMAR , THE CLOWN. Very busy during the season, he will also be heard in the title role of GIANNI SCHICCHI for L’Opéra de Québec, as Ford in FALSTAFF for Manitoba Opera, Picariello In FILUMENA for Calgary Opera, Iago in OTELLO for Vancouver Opera and Scarpia in TOSCA for Orchestre de Trois Rivieres. His concert schedule includes MESSIAH for Symphony Nova Scotia and ELIJAH for Winnipeg.

His 2015-2016 season began with the title role in MACBETH for Kentucky Opera followed by Escamillo in CARMEN for Edmonton Opera, Sharpless in MADAMA BUTTERFLY for Vancouver Opera and George in OF MICE AND MEN for Manitoba Opera. Also on his schedule were performances of Beethoven’s Symphony No. 9 with Jacques Lacombe conducting Orchestre symphonique de Trois-Rivières and CARMINA BURANA for Chorus Niagara.

Highlights of past seasons include Sharpless in MADAMA BUTTERFLY for the Canadian Opera Company, the High Priest in SAMSON ET DALILA for Opéra de Montréal, Escamillo in CARMEN for Calgary Opera and Orchestre symphonique de Montréal for its Virée Classique Festival with Nagano on the podium, Ford in FALSTAFF for L’Opéra de Montréal, the title role in MACBETH and Sebastian in Ades’ THE TEMPEST for L’Opéra de Québec, Iago in OTELLO for Calgary and Edmonton operas, Amonasro in AIDA for Manitoba Opera, Golaud in PÉLLEAS ET MÉLISANDE for Against the Grain Theatre and an engagement at the Metropolitan Opera covering the role of Mandryka in ARABELLA. Also in his repertoire are the roles of Jokanaan in SALOME (Manitoba Opera, Opera Theatre of St. Louis), di Luna in IL TROVATORE (L’Opéra de Montréal), Alfio in CAVALLERIA RUSTICANA and Tonio in PAGLIACCI (Edmonton Opera, Opéra de Montréal and Opera Hamilton), Enrico in LUCIA DI LAMMERMOOR (Opera Lyra Ottawa and Vancouver Opera).

On the concert platform he has been heard in Adams’ EL NIÑO with the Vancouver Bach Choir, Beethoven’s SYMPHONY NO. 9 with the symphonies of Vancouver and Winnipeg and Symphony Nova Scotia, Verdi’s REQUIEM for the Regina Symphony and ELIJAH for the Winnipeg Philharmonic Choir.

Additional credits include Yermalov in the Canadian Opera Company’s WAR AND PEACE, Musiklehrer in ARIADNE AUF NAXOS for Calgary Opera, and Zurga in LES PECHEURS DE PERLES for Edmonton Opera. He has also appeared as Capt. Corcoran in HMS PINAFORE, Germont in LA TRAVIATA, Hubbard in REGINA, Nick Shadow in THE RAKE’S PROGRESS and the title roles in RIGOLETTO, DON GIOVANNI, GIANNI SCHICCHI and IL BARBIERE DI SIVIGLIA.

Mr. Dahl first came to national attention as Francis Chancy in the World Premiere of James Rolfe’s BEATRICE CHANCY; other world premieres include Estacio and Murrell’s FILUMENA for the Calgary Opera, and LILLIAN ALLING for Vancouver Opera. FILUMENA was filmed for release in the DVD format and joins BEATRICE CHANCY on his list of operas-on-film. Mr. Dahl has also created roles for Tapestry New Opera Works (Robert Peary in Smith’s FACING SOUTH and The Alchemist in Schafer’s THE PALACE OF THE CINNABAR PHOENIX) and sang the role of George in the Canadian Premiere of Heggie’s DEAD MAN WALKING, presented by the Calgary Opera.

The imposing Winnipegger studied at the University of Manitoba, The Banff Centre for the Arts and the University of Toronto Opera Division.

September 2016












Adès Sebastian THE TEMPEST
Dittersdorf Arcifanfano ARCIFANFANO
Estacio Charlie FILUMENA
Leoncavallo Tonio PAGLIACCI
Offenbach Crespel/Schlemil/Villains LES CONTES D’HOFFMANN
Prokofiev Balaga/Yermalov WAR AND PEACE
Rolfe Francis Chancy BEATRICE CHANCY
Saint-Saëns Dagon SAMSON ET DALILA
Strauss, J. Eisenstein/Falke DIE FLEDERMAUS
Strauss, R. Mandryka ARABELLA
  Jokanaan Musiklehrer SALOME ARIADNE AUF NAXOS
Sullivan Mikado Capt. Corcoran MIKADO HMS PINAFORE
Tchaikovsky Tomsky QUEEN OF SPADES
Verdi Amonasro AIDA


Adams Il Nino
Bach, J.S. Mass in B minor Matthäus Passion Weihnachtsoratorium Missa in A Missa in G Cantata 164
Beethoven Symphony No. 9
Brahms Ein Deutsches Requiem
Bruckner Te Deum
Fauré Requiem
Handel Messiah
Haydn Die Schöpfung
Holman Magnificat
Mendelssohn Elijah
Mozart Mass in C Requiem in D minor
Orff Carmina Burana
Purcell The Fairy Queen
Schafer The Palace of the Cinnabar Phoenix
Schubert Mass in A flat
Vaughan Williams Dona Nobis Pacem Fantasia on Christmas Carols Hodie
Verdi Requiem


“Le baryton winnipegois Gregory Dahl (Ford) donne une prestation remarquable, dans un rôle qui l’oblige à jouer avec sérieux dans un environnement des plus loufoques.”
[Falstaff, Manitoba Opera]

“Dahl stormed the stage like a powderkeg ready to blow, barely containing his fury during Act II’s explosive E sogno? O realta.” [Falstaff, Manitoba Opera], Holly Harris

“The baritones stand out…Gregory Dahl as Ford has a rich beautiful voice.” [Falstaff, Manitoba Opera]
CBC Radio, Lara Rae

“Le baryton Gregory Dahl campe, avec un plaisir évident, un Gianni Schicchi rusé et capotin.” [Opéra de Québec, Gianni Schicchi]

“The baritone Gregory Dahl played with obvious pleasure, a cunning and lively Gianni Schicchi”
Le Journal de Québec, Yves Leclerc

“…Gregory Dahl, qui brille dans ce type de rôle, un sourire malin aux levres”
“…Gregory Dahl, who shines in this type of role, a mischievous smile on his lips.”
Le Soleil, Josianne Desloges

“…brûlent les planches, à comment par Gregory Dahl, impayable en Gianni Schicchi roublard à souhait. Non content de s’amuser ferme, il chante magnifiquement un role qui lui va comme un gant.”
“…tearing up the stage was Gregory Dahl, priceless as Gianni Schicchi and as wily as you could wish. Not just content to have a really good time, he sang magnificently, a role that fits him like a glove.”
L’Avant-Scène Opéra, Louis Bilodeau

“Best of the singing actors was the veteran Canadian baritone Gregory Dahl as Amonasro, who persuades his reluctant daughter Aida to forgo love for patriotic duty. His climactic accusation that she is nothing but a slave – la schiava! – was perhaps the most chilling of the evening’s many moments of interpersonal melodrama.” [Opéra de Montréal, Aida]  
Montreal Gazette, Arthur Kaptainis

“As the American ambassador, Max, Gregory Dahl showed off a beefy baritone in the Scarpia-like role, seducing a willing Tosca eager to escape her Cavaradossi and his provincialism.” [Opera Theatre of Saint Louis, world premiere of Shalimar the Clown]  
Opera News, Henry Stewart

“…in an overall excellent cast that included Gregory Dahl, his baritone smooth with Max’s wolfish charm and easy power.” [Opera Theatre of Saint Louis, world premiere of Shalimar the Clown] New York Times, Corinna da Fonseca-Wollheim

“Gregory Dahl is a nuanced and three-dimensional George.” [Manitoba Opera, Of Mice and Men] CBC, Lara Rae

 “Former Winnipegger Gregory Dahl also delivered a strong performance as George, with his robust baritone matching Hendrick’s vocals note for note. His Act I solo, in which he described how his life “would be so simple by itself” created soulful, introspective counterpoint, and when he sang, “One day soon,” during his duet with Lennie, he gave voice to the dreams of an era.”  [Manitoba Opera, Of Mice and Men] Winnipeg Free Press, Holly Harris

“…baritone Gregory Dahl, as the American consul Sharpless, does strong work (acting- and singing-wise) as the empathetic go-between who foresees the disaster the impulsive Pinkerton will create…” [Vancouver Opera, Madama Butterfly] Georgia Straight, Janet Smith

“Baritone Gregory Dahl, for example, sings an impressive Sharpless, the American consul; but he acts the part with insight as well.” [Vancouver Opera, Madama Butterfly] Vancouver Sun, David Gordon Duke

“But that strength is reflected in the performances from the rest of the cast including Gregory Dahl as Macbeth, who maintained a sturdy demeanor. His baritone voice resounded with resolve as Macbeth pursued his rise to power through murder and deceit. Revelations of doubt came only in rare moments until the ghost of one of his victims, Banquo, began to haunt him.”  [Kentucky Opera, Macbeth] Louisville Courier-Journal, Elizabeth Kramer

“Gregory Dahl makes an excellent Golaud as one might expect.  Dahl’s Golaud is ultimately a sympathetic figure who repeatedly tries to suppress his jealously toward his half-brother Pelléas even though doing so only increases his anguish.  His scene with Pelléas in the grottos is especially fine since Dahl makes us feel within his character the ongoing battle between malice and restraint.” [Pelléas et Mélisande – Against the Grain Theatre]
Stage Door, Christopher Hoile

“Perhaps most impressive is Dahl’s Golaud, needy and increasingly menacing, sometimes in a suave fashion.” [Pelléas et Mélisande – Agains the Grain Theatre] NOW Magazine, Jon Kaplan “Gregory Dahl was also astonishing in his portrayal of the antagonist Prince Golaud, a complex role requiring a deep understanding of the philological trauma of someone who has lost their way.” [Pelléas et Mélisande – Against the Grain Theatre] Musical Toronto , John Terauds

“Quelques instants plus tard, c’est au tour de Gregory Dahl de faire craquer la salle avec un somptueux Pietà, rispetto, amore. On ne peut que succomber au charisme de ce superbe Macbeth, au coffre de cette voix de baryton.” [Opéra de Québec, Macbeth]
Le Soleil, Richard Boisvert

“La distribution est de très grande qualité. Le baryton Gregory Dahl joue bien les hésitations de Macbeth, qui se questionne sur le mal qu’il va répandre, pour s’imposer, ensuite, vocalement au troisième et quatrième acte.” [Opéra de Québec, Macbeth]

“Gregory Dahl, a vivid and steady baritone, embodied both the heroism and villainy of the title character. He was more incensed by, than afraid of, the visions that haunted him. One positive result was a drama that remained active to the final curtain: This guy might be a match for fate.” 
Montreal Gazette, Arthur Kaptainis

“Baritone Gregory Dahl, an audience favourite in Calgary, and an experienced on-stage villain, could not have captured the role of the duplicitous Iago better, and beguiled his nemesis all night long with his serpentine poison, ingratiating himself with malevolent cunning. Mr. Dahl succeeded in pulling off the greatest villain in the opera repertoire, and his Act II Credo, where he affirms his genesis as evil incarnate, was chilling.” [Calgary Opera, Otello] Calgary Herald, Stephan Bonfield 

“Canadian baritone Gregory Dahl was a commanding presence, with his rich timbre and fine legato.” [Opéra de Montréal, Il Trovatore]
Montreal Gazette, Wah Keung Chan

“Special mention must be made of Winnipeg baritone Gregory Dahl’s chain-shackled Jokanaan, who immediately asserted his booming presence even from the depths of the cistern with his first vocal entry, “After me, will come one.” The charismatic singer brought both requisite strength and nobility to the role, with his robust voice trembling with fury as he foretold the coming of the Son of Man.” [Manitoba Opera, Salome
Winnipeg Free Press, Holly Hills

“Dahl, as Tonio, set the scene for Pagliacci charmingly, coming out from the audience to deliver the Prologue. Besides setting the scene nicely, he conveyed genuine menace when he accosts Nedda.”  [Edmonton Opera, Pagliacci] Opera Canada, Bill Rankin 

“As his older half-brother, Golaud, baritone Gregory Dahl sang and acted powerfully. His intensity made his gradual disintegration over the opera’s course credible.” [Opera Theater St. Louis, Pelleas et Melisande
Saint Louis Today, Sarah Bryan Miller

“As Tom’s diabolical nemesis, Nick Shadow, the baritone Gregory Dahl cuts an imposing figure both vocally and physically, and projects a personality that is charming and subtle but still too powerful to be resisted.” [Pacific Opera Victoria, The Rake’s Progress
The Victoria Times Colonist, Kevin Bazanna

“Gregory Dahl, who did double duty in the bass role of the archangel Raphael and the baritone part of Adam, possesses a round, resonant voice and impressively clear diction.” [Vancouver Symphony Orchestra, Haydn’s Creation] 
The Vancouver Sun, David Gordon Duke

“Gregory Dahl makes his POV debut as the boorish and vulgar Giovanni, yet manages to portray him as a likeable if flawed hero, with dash and charisma. Dahl’s lusty, powerful voice holds true from top to bottom, and his stage presence is commanding and secure.” [Pacific Opera Victoria, Giovanni]
Times Colonist, Grania Litwin 



“Si puo? Signore!” from Pagliacci by Leoncavallo



Filumena, which will run Feb. 4, 8 and 10, will be relaunched in celebration of Canada’s 150th anniversary. Since its world première in 2003, Filumena has become the most-produced grand Canadian opera. In 2003, Gregory Dahl was the first performer to sing Carlo, he returns as the protagonist Emilio. Mezzo-soprano Elizabeth Turnbull will return to the role of his wife, Maria.



Gregory Dahl sings the guileful Iago in Verdi’s Otello alongside Erin Wall, as Desdemona, Megan Latham, as Emilia and Thomas Goerz, as Lodovico.  Performances with the Vancouver Opera are on April 26, 28, May 4, and 6.