Internationally acclaimed for his rich voice and thrilling upper register, 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 followed by appearances in the title role of Gounod’s Faust. Mr. Pomeroy had previously sung Faust with bass James Morris as Méphistophélès in the annual “Met in the Parks” concert series.
During the summer of 2018, Pomeroy starred as Don Jose in a new production of Carmen at the Bregenz Festival in Austria and he looks forward to an exciting season in Europe, the USA, Mexico and Canada. He will be heard as Bacchus in Ariadne auf Naxos in Stuttgart, as Paul in Die Tote Stadt in Limoges, as Calaf in Turandot for New Orleans Opera and in Vancouver for Faust. Elgar’s The Dreams of Gerontius takes him to Mexico City and he will be heard with the Vancouver Symphony in both Dvorak’s Stabat Mater and Beethoven’s Symphony No. 9 and in Winnipeg in Verdi’s Requiem.
He began the 2017-2018 season with his role debut in Tannhäuser, a new production at the Köln Opera. Seattle audiences heard him as Radames in Aida, while Pinkerton in Madama Butterfly marked his return to Manitoba Opera. He caps his year with as role debut as Peter Grimes for the Vancouver Symphony conducted by Bramwell Tovey. In concert, he was featured in Christmas concerts in his hometown of St. John’s, Newfoundland and celebrated New Year’s at Roy Thomson Hall in Bravissimo, an opera gala.
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 and he also appeared with the Colorado Symphony in Beethoven’s Symphony No. 9 and Grant Park Festival in Martin’s In terra pax. Further credits include his appearances as Paul in Die tote Stadt with both Oper Frankfurt and Calgary Opera, as Don José in Carmen for the Canadian Opera Company. In concert, he was heard in Mahler’s Symphony No. 8 with Calgary Philharmonic, Beethoven’s Symphony No. 9 with Vancouver Symphony and Janacek’s Glagolitic Mass with Orchestre Métropolitain 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|
“In the title role, tenor David Pomeroy commanded an exceptionally wide expressive range, from the hushed mysticism of ‘Now the great Bear and Pleiades’ and the broad lyricism of ‘What harbour shelters peace’ to the searing intensity of his concluding mad scene, ‘To hell with all your mercy.’ However loud or soft his delivery, Pomeroy’s voice was consistently full yet controlled, effortlessly soaring above the orchestra without a hint of strain.”
[Peter Grimes, Vancouver Symphony Orchestra] Nicolas Krusek, Vancouver Classical Music
“Canadian tenor David Pomeroy characterized a strapping Pinkerton, swaggering his way through his opening aria, ‘Dovunque al mondo,’ with its strains of the ‘Star Spangled Banner,’ and chillingly proclaimed ‘America forever.’ Pomeroy set sail on his own harrowing narrative arc with port stops along the way that included the sweetly tender love duet ‘Viene le sera’ sung with his new child bride, until unmoored and wracked with remorse during Act III’s ‘Addido fiorito asil.’”
[Madama Butterfly, Manitoba Opera] Holly Harris, Opera News Magazine
“…acclaimed Canadian lyric tenor David Pomeroy bellows and booms as the strapping, 19-year-old Pinkerton, swaggering through opening aria ‘Dovunque al mondo’ fuelled by strains of the Star Spangled Banner as he chillingly proclaims, ‘America forever.’ Pomeroy sets sail on his own harrowing narrative arc, which includes his sweetly tender love duet ‘Viene la sera’ with his new bride, their voices entwining like lovers’ limbs, until bolting offstage after becoming engulfed by remorse during Act III’s ‘Addio fiorito asil,’ sung with dramatic intensity. It’s also a testament to his powerhouse portrayal that the renowned tenor earned boisterous boos during his curtain call from a clearly engaged, impassioned audience; Pomeroy acknowledged them with delight.”
[Madama Butterfly, Manitoba Opera] Holly Harris, Winnipeg Free Press
“Pomeroy is a true spinto tenor whose voice rose above the fray in climactic sections… His tender ‘Jungfrau’ solo in Part II was impressive both tonally and dramatically.”
[Mahler’s Symphony No. 8] Bill Rankin, Calgary Herald
“…a powerful, agile tenor…heartfelt”
[Faust] The New York Times
“David Pomeroy’s voice brought life, depth and breadth to Don José, while his descent into obsession was believable and heartfelt.”
[Don José in Carmen] Apt613
“…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.”
[Don José in 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.”
[Don José in Carmen] Belgian Operaguide
“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.”
[Don José in Carmen] Philly.com
“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.”
[Don José in Carmen] Winnipeg Free Press
“David Pomeroy was simply great all night…He simply nails the part of Erik, embodying the role in voice and action.”
[Der Fliegende Holländer] Calgary Herald
“Pomeroy has a gorgeous, well-dimensioned voice and he plays his role believably…”
[Hoffmann in Les Contes d’Hoffmann] Finster Finds
“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.”
[Hoffmann in Les Contes d’Hoffmann] Opera Today
“David Pomeroy exudes brio as Alfred…”
[Die Fledermaus] ConcertoNet.com
“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…”
[Tosca] Vancouver Vantage
“…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.”
[Tosca] Plank Magazine
“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.”
[Rigoletto] EXRue Frontenac
“…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”
[La Traviata] WQXR/Operavore
“…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.”
[La Traviata] Berkshire Fine Arts
MADAMA BUTTERFLY AT MANITOBA OPERA
Tenor DAVID POMEROY sings the role of Pinkerton in Manitoba Opera’s production of Puccini’s Madama Butterfly. Performances run at the Centennial Concert Hall in Winnipeg Nov. 18, 21 and 24, 2017.
“Che gelida manina” from La Boheme by Puccini
“Nessun Dorma” from Turandot by Puccini