Michael Nyby

Baritone  

Michael Nyby

Baritone

 

Baritone Michael Nyby, lauded for his “stentorian masculinity” (Carmina Burana) and “natural and commanding stage presence” (Danilo, The Merry Widow), is establishing himself on both the concert and opera stages throughout North America. Mr. Nyby has been praised for his “stentorian masculinity” by Musical Toronto after his performance in Carmina Burana with the Toronto Mendelssohn Choir, and singled out by the New York Times for his “standout” performance in the supporting role of Leuthold in Caramoor’s Guillaume Tell. 

In the 2016/2017 season, Mr. Nyby was heard with the Edmonton Opera as Dandini in La Cenerentola and for Toronto Operetta Theatre as Bummerli in The Chocolate Soldier. On the concert stage he debuted with the Cathedral Choral Society in Washington, D.C. singing Dvorak’s Te Deum and Vaughan Williams’ Five Mystical Songs and returned to both the Edmonton Symphony and Victoria Symphony to reprise the baritone solos in Carmina Burana with both the Edmonton Symphony and the Victoria Symphony. Mr. Nyby appeared in Handel’s Messiah with the Winnipeg Symphony, and performed songs by Copland with the Peterborough Symphony. In the 2018 season, he joins The Florida Orchestra for his acclaimed Carmina Burana and appears with the Victoria Symphony in Handel’s Messiah.

In the 2015/2016 season he appeared as Danilo in The Merry Widow for Edmonton Opera and in concert sang the Messiah for the Windsor Symphony, later returning as Schaunard in a concert version of La Bohème. Other Winnipeg Symphony performances include his applauded Carmina Burana and the premiere of Kuzmenko’s Golden Harvest. He appeared as Seth in the World Premiere of Togni and Singer’s Isis and Osiris for VOICEBOX: Opera in Concert in April 2016.

In February 2015, Mr. Nyby sang the world-premiere, fully-staged concert performance of the opera Georgia Bottoms – a comic opera set in modern day Alabama – and later that spring, the role of Demetrio in the world premiere of Il sogno by Kristin Hevner Wyatt for Opera Ithaca. Passionate about the music of our time, he also performed the world premiere of Scott Wheeler’s 200 Dreams from Captivity in 2014 with the Manitoba Chamber Orchestra and created the role of William Dale in Minnesota Opera’s world premiere of Kevin Putz’s Pulitzer Prize winning Silent Night. He performed the role of the Young Man in the Canadian Premiere of Joe DiPietro’s play The Last Romance for Theatre Aquarius in 2013, for which he received numerous accolades.

Other engagements include performances with the Thunder Bay Symphony (Carmina Burana), Niagara Symphony (Gilbert and Sullivan Concert), Kingston Symphony (Carmina Burana), North York Concert Orchestra (Die Schöpfung), Barrie Choralfest (Faure Requiem and Dvořák Te Deum), and the Toronto Operetta Theatre (Der Vetter aus Dingsda). Michael was a winner of the Metropolitan Opera National Council Competition’s Western Canada District, and won third place in the Opera Columbus Irma M. Cooper International Vocal Competition.                                     

June 2017

 

 

Opera

Argento Montebank/Lorenzo CASANOVA’S HOMECOMING
Bizet Escamillo CARMEN
  Zurga LES PÊCHEURS DE PERLES
Donizetti Duke of Nottingham Lord Cecil  ROBERTO DEVEREUX
MARIA STUARDA 
Gluck Apollon ALCESTE
Gounod Valentin FAUST
Hermann Heathcliff WUTHERING HEIGHTS
Künneke Onkel Josse DER VETTERAUS DINGSDA
Lehár Danilo DIE LUSTIGE WITWE
Menotti Secret Police Agent THE CONSUL
Mozart Don Alfonso Don Giovanni
Conte
COSÌ FAN TUTTE
DON GIOVANNI
LE NOZZE DI FIGARO
Puccini Schaunard/Marcello LA BOHÈME
  Pinellino GIANNI SCHICCHI
Puts William Dale SILENT NIGHT
Rossini Figaro
Dandini 
IL BARBIERE DI SIVIGLIA
CENERENTOLA 
  Guillaume Tell GUILLAUME TELL
Strauss, J. Falke DIE FLEDERMAUS
Strauss, R. Fifth Jew SALOME
Togni Seth ISIS AND OSIRIS
Verdi Il Conte de Lerma Ford   DON CARLOS
FALSTAFF
  Germont LA TRAVIATA 
  Monfort LES VÊPRES SICILIENNES
Weber Kilian/Ottokar DER FREISCHUTZ
Wyatt Demetrio IL SOGNO

  Concert

Bach Johannes Passion
Beethoven Symphony No. 9
Brahms Ein Deutsches Requiem
Copland Old American Songs
Dvorak Te Deum
Fauré Requiem
Handel Messiah
Kuzmenko Golden Harvest
Mozart Requiem Vesperae Solennes de confessore
Orff Carmina Burana
Pergolesi Magnificat
Puccini Messa di Gloria
Salieri Mass in D major
Wheeler 200 Dreams from Captivity

“The program continued with Williams’s “Five Mystical Songs,” with the baritone soloist Michael Nyby lyrical and able…” [Cathedral Choral Society]
The Washington Post, Anne Midgette

“Then came the “Te Deum,” in which both Nyby and the soprano Colleen Daly (who was also featured at the Washington Chorus’s season-ending concert last week) showed vocal muscle as well as vocal beauty.” [Cathedral Choral Society]
The Washington Post, Anne Midgette

“Nyby is consistently engaging as Dandini, with just the right touch of exaggeration when disguised as the Prince, and what a fine baritone he is.” [Edmonton Opera, La Cenerentola]
Edmonton Journal, Mark Morris

“Michael Nyby was a stoic and masculine Valentin whose “Avant de quitter ces lieux” literally stopped the show.” [Haliburton Highlands, Faust]
Opera Canada, Dawn Martens

“In a crowd-pleasing turn as the despicable Seth, baritone Michael Nyby repeatedly stole the show. Dangerous is the villain with charisma and an heroic strut. Nyby’s vicious offhand characterization was positively lethal. His broad, muscular voice, dripping with venom, body taut, eyes flashing contempt, the steely singer actor positively shredded the stage, savage, cunning and primal.”  [Voicebox, Opera in Concert, world premiere of Isis and Osiris]
Opera Going Toronto, Ian Ritchie

“But it was Michael Nyby’s Seth that really stole the show. Maybe it’s the unfortunate truth of all drama, but despite Singer and Togni’s desire to show that harmony and peacefulness win out in the end over evil and destruction, the Devil, as they say, has all the good tunes. Nyby’s Seth, although somewhat uni-dimensional in his fierce malevolent pride, overwhelms all the other characters in the opera. He makes his poor brother, Osiris, look like a naïve sap. His sexual appeal to his widowed sister, Osiris, is visceral. His love of power is overwhelming. He’s sort of a cross between Richard the Third, Lucifer and Donald Trump. And Nyby gave Seth everything he had, singing and acting the role with great force.” [Voicebox, Opera in Concert, world premiere of Isis and Osiris] Globe and Mail, Robert Harris

“…and Michael Nyby, as her list-less ex-lover, Count Danilo, has the full, bright baritone and good looks to make a convincing leading man.” [Edmonton Opera, Merry Widow] 
Opera Canada, Bill Rankin

“But by far the best performance was that of Michael Nyby as Danilo. His stage presence was both natural and commanding, and his lyrical baritone, with just a touch of dark colours in it, is rich and effortless.” ” [Edmonton Opera, Merry Widow] 
Edmonton Journal, Mark Morris

“You would never know Michael Nyby hails from Ontario, Canada – he wrapped his big baritone around those Southern vowels as if he was born drinking sweet tea. His performance as Rev. Brent Colgate was one of the big surprises of the evening, for this reviewer – his initial air of sexy danger gave way in the third act to a palpable sense of evil that kind of unnerved even the co-librettist.” [Huntsville Symphony, Georgia Bottoms – A comic opera of the modern south] 
Birmingham Raw, Mark Childress

“Baritone Michael Nyby ably negotiated the many challenges of his vocal part which stretches up into the tenor stratosphere many times while also requiring stentorian masculinity.” [Carmina Burana, Toronto Mendelssohn Choir] 
Musical Toronto, John Terauds

“Completing this quartet of perfectly believable, always intelligent performances is Michael Nyby, opera singer by profession, turned actor with this play. He’s handsome as any Cinderella’s Prince, sings like a nightingale and adds emotional fabric to the proceedings, giving us a glimpse of Ralph as a once young, possessor of dreams.” 
Hamilton Spectator, Gary Smith

“Baritone Michael Nyby ably negotiated the many challenges of his vocal part, which stretches up into the tenor stratosphere many times while also requiring stentorian masculinity.”  [Toronto Mendelssohn Choir, Carmina Burana]
Musical Toronto, John Terauds

“The robust baritone of Michael Nyby etched a strong characterization of the jealous Ford.” Opera Canada, Hillary Clarke “Smaller roles were handled capably, and standouts include baritone Michael Nyby as the shepherd Leuthold” New York Times, Steve Smith

LISTEN

“Hai già vinta la causa” from The Marriage of Figaro by Mozart

 

“L’orage s’est calmé” from Les Pêcheurs de Perles by Bizet