David Pomeroy
Canadian tenor David Pomeroy is enjoying a career placing him in the spotlight on the world’s most important stages. The New York Times describes him as “a powerful, agile tenor… heartfelt.” The Newfoundland native made his Metropolitan Opera debut in the title role of Faust, followed by the title role in The Tales of Hoffmann, and now receives star billing across North America, Europe, Asia, and Latin America.
David’s 2023-24 saw him engaged by Manitoba Opera (Don José, Carmen), Vancouver Symphony Orchestra (Verdi’s Requiem), and the Bavarian State Opera. Last season he appeared at Calgary Opera as Don José (Carmen), Edmonton Opera as Cavaradossi (Tosca), and returned to Manitoba Opera for a gala of operatic favourites. In concert, he appeared with the Louisiana Philharmonic Orchestra, Orchestre symphonique de Québec, and the Rhode Island Philharmonic, among others.
David’s 2021-22 season opened at the Gran Teatra del Liceu, Barcelona as Bacchus (Ariadne auf Naxos), followed by a role debut as Turiddu (Cavalleria rusticana) with Vancouver Opera, and a return to Teatro Municipal de São Paulo, Brazil as Radames (Aïda).
Other recent stage appearances include Bacchus with Oper Stuttgart, Calaf (Turandot) with the New National Theatre, Tokyo and Teatro Municipal de São Paulo, the title role of Tannhäuser with Cologne Opera, and Paul (Die tote Stadt) with Oper Frankfurt. Further recent credits include a house debut with the Orquesta Nacional de España as a soloist in Braunfels’ Te Deum; Calaf (Turandot) in debuts with New Orleans Opera, and at Brazil’s Teatro Municipal; a house debut with Opéra de Limoges as Paul in Die tote Stadt; Calaf in his debut with New National Theatre (Japan); Bacchus with Oper Stuttgart; and Faust with Vancouver Opera.
Pomeroy's debut album of repertoire from his most celebrated roles, with the 64-member Newfoundland Symphony Orchestra under Marc David, was released in fall 2020. His recent concert appearances include Verdi's Requiem with the Winnipeg Symphony, Beethoven's 9th Symphony with the Vancouver Symphony Orchestra, as well as Messiah and “Christmas with David Pomeroy” and the Newfoundland Symphony Orchestra.
The 2017-18 season consisted of three role debuts: the title role in Tannhäuser in a new production with Oper Köln, Radamès (Aïda) with Seattle Opera and Britten's Peter Grimes with the Vancouver Symphony Orchestra. He also returned to Manitoba Opera as Pinkerton in Madama Butterfly and Florestan (Fidelio) in concert at the Palacio de Bellas Artes in Mexico City. Concert appearances included Beethoven's 9th with the Newfoundland Symphony and Maestro Bramwell Tovey's Gala Celebration in Vancouver. The season concluded with a house debut at the Bregenzer Festspiele in Carmen, where David gave his 100th performance as Don José.
In 2016-17 David performed Calaf in Turandot in a role debut for Edmonton Opera, and then again for Calgary Opera. In Europe, he performed Braunfel's Te Deum with the Warsaw Philharmonic, and Florestan in Fidelio, a new productions with Oper Köln.
In 2015-16, Pomeroy sang Paul in Die tote Stadt in both Frankfurt and Calgary and Don José in Carmen with the Canadian Opera Company. His concert appearances, as tenor soloist, included Mahler’s 8th Symphony with Calgary Philharmonic, Beethoven’s 9th Symphony with Vancouver Symphony, Messiah with Newfoundland Symphony and Janacek’s Glagolitic Mass with Orchestre métropolitain de Montréal under the baton of Yannick Nézet-Séguin.
2014-15 engagements included Alfred in Die Fledermaus at Vancouver Opera, Henri in Les vêpres siciliennes with the Royal Danish Opera, both Florestan in Fidelio and Calaf in Turandot in Manitoba, and Carmen with Opera Australia.
His 2013-14 season included his role debut as Erik in Der fliegende Holländer with Calgary Opera, Don José (Carmen) with Opera Lyra Ottawa, Cavaradossi (Tosca) with Vancouver Opera and Pinkerton (Madama Butterfly) with Calgary Opera. Other engagements included a French Grand Opera Gala with The Newfoundland Symphony, Orchestre symphonique de Trois Rivières for Verdi’s Requiem and Vancouver Symphony Orchestra for Beethoven’s Symphony No. 9.
With the Canadian Opera Company, he has performed the title roles in Faust and The Tales of Hoffmann, as well as Rodolfo (La bohème), Skuratov (From the House of the Dead), Pinkerton (Madama Butterfly) and Alfred (Die Fledermaus).
Mr. Pomeroy created the role of Stefano for the successful world premiere of Filumena with Calgary Opera and proceeded to perform remounts in Banff, Ottawa and Edmonton (currently available on DVD).
Other appearances include Alfredo (La traviata) with Vancouver Opera and New York City Opera, Macduff (Macbeth) with Edmonton Opera, Don José (Carmen) with Pacific Opera Victoria, Manitoba Opera, Lyric Opera of Kansas City, Vancouver Opera, Cork Ireland and Staatsoper Stuttgart, Pinkerton (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, Cavaradossi (Tosca) with Opéra de Montréal, Il Duca (Rigoletto) with Opéra de Montréal, Calgary Opera and Manitoba Opera, Hoffmann (Les contes d’Hoffmann) with Florida Grand Opera, COC, The Metropolitan 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, Rodolfo (La bohème) with Pacific Opera Victoria, COC, Idomeneo (Idomeneo) with Pacific Opera Victoria, Pollione (Norma) with Pacific Opera Victoria and Ladislov (The Two Widows) with Scottish Opera performed both at the Edinburgh Festival and in Glasgow.
August 2024
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Great Tenor Arias (2020)
Pomeroy's debut album of repertoire from his most celebrated roles on the operatic stage, with the 64-member Newfoundland Symphony Orchestra and Marc David, was released in fall 2020.
““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] ”
