Michael Nyby


Michael Nyby


American/Canadian Citizenship

American-Canadian 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 concert and opera stages throughout North America.

During the 2018/2019 season he looks forward to a return to Lehar’s The Merry Widow; once as Cascada for Vancouver Opera and later as Danilo for Toronto Operetta Theatre. For the Kamloops Symphony, he will be heard in Orff’s Carmina Burana, a work which marked his Florida Orchestra debut last 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. and returned to both the Edmonton Symphony and Victoria Symphony for Carmina BuranaMessiah has recently claimed his attention with the Winnipeg, Windsor and Victoria symphonies.

In past seasons, he was Danilo in The Merry Widow for Edmonton Opera and in concert sang the role of Schaunard in a concert version of La bohème in Windsor. Other Winnipeg Symphony performances include his applauded Carmina Burana and the premiere of Kuzmenko’s Golden Harvest. He also appeared as Seth in the World Premiere of Togni and Singer’s Isis and Osiris for VOICEBOX: Opera in Concert. A dedicated exponent of the music of our time, Mr. Nyby sang the world-premiere of the opera Georgia Bottoms – a comic opera set in modern day Alabama – for the Alabama Symphony, the role of Demetrio in the world premiere of Il sogno by Kristin Hevner Wyatt for Opera Ithaca, the world premiere of Scott Wheeler’s 200 Dreams from Captivity 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. For Theatre Aquarius, he performed the role of the Young Man in the Canadian Premiere of Joe DiPietro’s play The Last Romance.

Singled out for his “standout” performance as Leuthold in Caramoor’s Guillaume Tell by the New York Times, further credits 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 took the Bronze Medal in the Opera Columbus Irma M. Cooper International Vocal Competition.

September 2018


Argento Montebank/Lorenzo CASANOVA’S HOMECOMING
Bizet Escamillo CARMEN
Donizetti Duke of Nottingham Lord Cecil  ROBERTO DEVEREUX
Gluck Apollon ALCESTE
Gounod Valentin FAUST
Hermann Heathcliff WUTHERING HEIGHTS
Menotti Secret Police Agent THE CONSUL
Mozart Don Alfonso Don Giovanni
Puccini Schaunard/Marcello LA BOHÈME
Puts William Dale SILENT NIGHT
Rossini Figaro
  Guillaume Tell GUILLAUME TELL
Strauss, J. Falke DIE FLEDERMAUS
Strauss, R. Fifth Jew SALOME
Verdi Il Conte de Lerma Ford   DON CARLOS
  Germont LA TRAVIATA 
Weber Kilian/Ottokar DER FREISCHUTZ
Wyatt Demetrio IL SOGNO


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

“Canadian-American baritone Michael Nyby, who has won praise for his interpretation of the Carmina Burana.”
[Camina Burana, Florida Orchestra] Tampa Bay Times – Andrew Meacham

“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 baritone Michael Nyby and the soprano Colleen Daly … 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.”
[La Cenerentola, Edmonton Opera] Edmonton Journal, Mark Morris

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

“As Seth, the bringer of evil, I have one thing to say to baritone Michael Nyby – #TripleSwoonTimesInfinity. That’s right, you heard it here first. If you weren’t convinced of Nyby’s incredible talent and skill already, his performance in this piece will convince you. The standout performance for me in this production, Nyby sang Seth’s incredibly difficult and rangy music as though he had been singing this role his whole life. There were moments of Germont and Escamillo all rolled into this sinewy, snakelike characterization that had me entranced the moment he stepped on the stage. Bravo, signor! Bravo!”
[Isis and Osiris, Voicebox, Opera in Concert. *World Premier] Schmopera – Greg Finney

“I believe that artistic director Guillermo Silva-Marin knew what he was doing in his casting, recognizing that the key antagonist is Seth, and so he cast the powerful voice and presence of Nyby, who more or less steals the show.  His last moments onstage are chilling, as if warning us of the madness that still rules our world to this day.” 
[Isis and Osiris, Voicebox, Opera in Concert. *World Premier] Barczablog – Peter Barcza

“The opera may be called Isis and Osiris, but there is no doubt that the star of the show is Michael Nyby as Seth.  Every since Milton’s Paradise Lost (1667) people have noted that evil is more interesting than good, and so it is here.  Singer’s Seth is a marvellous creation – like Milton’s Lucifer, who wonders why he has lost God’s favour, or like Cain, uncontrollably jealous of his brother. Nyby has the full measure of the figure with his mixture of hurt, malice, envy and later fear and defiance.  His muscular yet agile baritone handles whatever difficulties the music casts his way with ease.  And he so fully embodies his character that he becomes the focus of all eyes whenever he is on stage.”
[Isis and Osiris, Voicebox, Opera in Concert. *World Premier] Stage Door, Christopher Hoile

“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.”
[Isis and Osiris, Voicebox, Opera in Concert. *World Premier] 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.”
[Isis and Osiris, Voicebox, Opera in Concert. *World Premier] 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.”
[The Merry Widow, Edmonton Opera] 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.”
[The Merry Widow, Edmonton Opera] 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.”
[A comic opera of the modern south – Huntsville Symphony] 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.”
[Carmina Burana, Toronto Mendelssohn Choir] 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


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


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