Gregory Dahl




Gregory Dahl


Canadian Citizen

Gregory Dahl’s debut as 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 Pelléas et Mélisande.

In the summer of 2019, Dahl made his debut in the title role of Der Fliegende Holländer in a new production for Opéra de Québec, destined for the Met’s New York stage in coming seasons.  A great favourite in Quebec, he will be heard as Germont Pere for Opéra de Québec in the fall followed by Messiah for Orchestre classique de Montreal while back at the Canadian Opera Company (COC), he will be cover artist for Amonasro in Aida and the Dutchman.  During the 2018/19 season Greg appeared as Hermogines in the world premiere of Rufus Wainwright’s second opera Hadrian with the COC, joined l’Opéra de Montréal for Donner in Das Rheingold, sang Messiah with the Winnipeg Symphony, and reprised the title role in Rigoletto for Calgary Opera. His 2017/18 season included Scarpia in Tosca for l’Opéra de Montréal and Calgary Opera, Rigoletto for l’Opéra de Québec, Sharpless in Madama Butterfly for the Manitoba Opera and Swallow in Peter Grimes in concert with the Vancouver Symphony. On the concert stage, he sang Messiah for the Vancouver Bach Choir and returned to Halifax for Beethoven’s Symphony No. 9 with Symphony Nova Scotia. His 2016/17 season included the title role in Gianni Schicchi for l’Opéra de Québec, Ford in Falstaff for Manitoba Opera, Picariello In Filumena for Calgary Opera, Iago in Otello for Vancouver Opera and Scarpia in Tosca for l’Orchestre de Trois-Rivières. The Manitoban’s concert schedule included Messiah for Symphony Nova Scotia, Elijah in Winnipeg and Beethoven’s Symphony No. 9 with Shelley and the National Arts Centre Orchestra.

Notable recent additions to his active repertoire are the title role in Macbeth (Kentucky Opera), George in Of Mice and Men (Manitoba Opera) and High Priest in Samson et Dalila (Opéra de Montréal). Highlights of past seasons include Sharpless in Madama Butterfly for the Canadian Opera Company, Escamillo in Carmen for l’Orchestre symphonique de Montréal and the Virée Classique Festival with Nagano, Ford in Falstaff and Amonasro in Aida for l’Opéra de Montréal, Sebastian in Ades’ The Tempest for l’Opéra de Québec 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, di Luna in Il trovatore, Alfio in Cavalleria Rusticana, Tonio in Pagliacci, and Enrico in Lucia di Lammermoor.

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 H.M.S. Pinafore, Germont in La traviata, Hubbard in Regina, Nick Shadow in The Rake’s Progress and the title roles in Don Giovanni, 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 and other world premieres include Estacio and Murrell’s Filumena for the Calgary Opera, Lillian Alling for Vancouver Opera and Shalimar the Clown for the Opera Theatre of St. Louis. 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.

September 2019


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

“…. Gregory Dahl also stood out in a ringing rendition of ‘The trumpet shall sound…’” [Messiah, Rhode Island Philharmonic] Providence Journal, Channing Gray

“…Giorgo Germont (Gregory Dahl) : C’est en effet une voix grave et puissante…” [The Flying Dutchman, Opéra de Montréal], Myriam Roy

“…Gregory Dahl, dont la présence bienveillante et la force tranquille imposent respect et tendresse” [The Flying Dutchman, Opéra de Montréal] Le Soleil, Josianne Desloges

“… l’excellent Gregory Dahl, qui campe Giorgio Germont, solide comme un roc.” [The Flying Dutchman, Opéra de Montréal] Ludwig van Montreal, Caroline Rodgers

“Le baryton manitobain est en voix et tout en prestance, dans un rôle qui lui colle parfaitement à la peau.” [The Flying Dutchman, Opéra de Montréal] Le Journal de Québec, Yves Leclerc

“Baritone Gregory Dahl, who has appeared in Calgary several times, was the production’s Scarpia and was heard at his best on this occasion. His voice type is ideal for the role: virile and weighty. His singing soared over the orchestra in the Te Deum at the end of the first act, and he was grittily sinister in the extended monologue that opens Act II. He was especially fine in his complex confrontation with Tosca in the same act…” [Tosca, Calgary Opera] Opera Canada, Kenneth DeLong

“Baritone Gregory Dahl, who has appeared in Calgary several times as Iago in Otello and also as Charlie in Filumena, was heard at his best on this occasion. His voice type is just right for the role. Virile and weighty, his singing soared over the orchestra in the Te Deum at the end of the first act, and he was grittily sinister in the monologue that opens the second act. He was especially fine in his complex exchange with Tosca in the second act…” [Tosca, Calgary Opera] Calgary Herald, Kenneth DeLong

“Dahl, who plays the malicious fool and protective father in the first act, is profoundly moving in the two following acts. With his compelling acting he renders Rigoletto into a touching and deeply human character.” [Rigoletto, Opéra de Québec] Opera News Magazine, Irène Brisson (trans. by Kelly Gervais)

“Baritone Gregory Dahl brings nuance to his role as U.S. consul Sharpless, who urges Pinkerton to be cautious of Butterfly’s heart, and later becomes caught in the lovers’ downward spiral during trio Io so che alle sue pene.” [Madama Butterfly, Manitoba Opera] Winnipeg Free Press, Holly Harris

“In the role of Rigoletto, Gregory Dahl navigates with skill in the double personality of his character. He is rebellious and impertinent in the skin of the hunchback jester, who amuses the Duke’s court, and is loving and sensitive when he is near his daughter. The baritone has a consistent vocal score and he delivers the goods. The singer from Winnipeg, who, after Macbeth and Gianni Schicchi, is in his third production with the Opéra de Québec and it’s a pleasure to see him on the stage. And the audience warmly expressed their pleasure at the end of Saturday’s performance.” [Rigoletto, Opéra de Québec] Le Journal de Montréal, Yves Leclerc

“Canadian Baritone Gregory Dahl was impeccable in the role of the underhand Scarpia. Manipulator at will, master of intrigues, he completely dominated the scene.” [Tosca, Opéra de Montréal] Le Journal de Montréal, Christoph Rodriguez

“Subtle touches in Opéra de Montréal’s traditional Tosca … It took an authoritative blend of focused tone and polished phrasing from the Canadian baritone Gregory Dahl, an Opéra de Montréal regular, to convey this nuance in the second act before the Roman chief of police makes his brutal intentions clear.” [Tosca, Opéra de Montréal] Montréal Gazette, Arthur Kaptainis

“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 powder-keg ready to blow, barely containing his fury during Act II’s explosive E sogno? O realta.” [Falstaff, Manitoba Opera] Winnipeg Free Press, Holly Harris

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

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

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

“…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.” [Gianni Schicchi, Opéra de Québec] 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.” [Aida, Opéra de Montréal] 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.” [Shalimar the Clown (world premiere), Opera Theatre of Saint Louis] Opera News, Henry Stewart

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

“Gregory Dahl is a nuanced and three-dimensional George.” [Of Mice and Men, Manitoba Opera] 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.” [Of Mice and Men, Manitoba Opera] 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…” [Madame Butterfly, Vancouver Opera] 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.” [Madame Butterfly, Vancouver Opera] 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.” [Macbeth, Kentucky Opera] Louisville Courier-Journal, Elizabeth Kramer

“There is also a wonderfully seedy, coarse Tomsky from Gregory Dahl” [Queen of Spades, English National Opera] The Guardian, Andrew Clements

“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] StageDoor, Christopher Hoile

“Perhaps most impressive is Dahl’s Golaud, needy and increasingly menacing, sometimes in a suave fashion.” [Pelléas et Mélisande, Against 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.” [Macbeth, Opéra de Québec] 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.” [Macbeth, Opéra de Québec]

“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.” [Macbeth, Opéra de Québec] 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.” [Otello, Calgary Opera] Calgary Herald, Stephan Bonfield

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

“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.” [Salome, Manitoba Opera] Winnipeg Free Press, Holly Harris

“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.” [Pagliacci, Edmonton Opera] Opera Canada Magazine, 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.” [Pelléas et Mélisande, Opera Theatre of St. Louis] 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.” [The Rake’s Progress, Pacific Opera Victoria] The Victoria Times, 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.” [Haydn’s Creation, Vancouver Symphony Orchestra] 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 likable 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.” [Don Giovanni, Pacific Opera Victoria] Times Colonist, Grania Litwin



Dean Artists is proud to announce our 23rd Prix Opus winners in two categories: Julien Proulx, conductor of “Prince et Tsar” with the Orchestre symphonique de Drummondville, winning production in the category “Concert de l’année, Régions”; and Gregory Dahl and Allyson McHardy in “The Flying Dutchman” with l’Opéra de Québec, winning production in the category “Concert de l’annéee, Québec.” Find out more in official announcement here:


Greg is with l’Orchestre classique de Montréal this December for Handel’s Messiah on December 8, 2019.



Greg joins Festival d’opéra de Québec for Wagner’s The Flying Dutchman from July 30 through August 3 and the main 2019-20 season for Verdi’s Rigoletto from October 21 through 28, 2019. for The Flying Dutchman | for Rigoletto


“Si puo? Signore!” from Pagliacci by Leoncavallo