Zach Finkelstein

Tenor

Zach Finkelstein

Tenor

Canadian/American Citizen

American-Canadian Zach Finkelstein has quickly established himself as a leading tenor soloist in North America and abroad, from Seattle’s Benaroya Hall to New York’s Lincoln Center to London’s Sadler’s Wells to the National Arts Center in Beijing, China.

In the concert world, Zach is known for his “refined” and “elegant” (Vancouver Observer) interpretation of the works of Bach, Handel, Haydn, and Mozart among others. In the spring of 2018, Zach stepped in on an afternoon’s notice for the soloist in Carmina Burana with the Seattle Symphony and was heard again in the role in 2019 with the Kamloops Symphony and the Pacific Northwest Ballet’s staged production. In the past five years, Zach has sung 32 performances of Handel’s Messiah with 14 presenting organizations, including the Virginia Symphony, the Florida Orchestra, the Calgary Philarmonic, and the Winnipeg Symphony. Zach also regularly tours as Bach Evangelist in both the Johannespassion and Matthäuspassion across North America- two upcoming engagements include Canada’s Vancouver Chamber Choir and the Florida Symphony- as well as the Bach tenor solos for all the composer’s major works.

Hailed by Anthony Tommasini of the New York Times as a “compelling tenor,” he made his New York City Opera debut as Mambre in Rossini’s Mosè in Egitto. Finkelstein has sung the role of Damon “with sensitivity and grace” (Boston Classical Review) in Acis and Galatea, performances conducted by Nicholas McGegan leading Philharmonia Baroque in Berkeley, CA as well as with the Handel and Haydn Society in Boston, MA. He made his haute-contre debut as Orphee in back-to-back productions of Gluck’s Orphee et Eurydice with Brava! Opera Theatre (English) and Opera Grand Rapids (French).

Mr. Finkelstein is also an evangelist for new and contemporary classical works, an oeuvre he discovered as a two-time Vocal Fellow at the Tanglewood Music Festival. The Spanish new music opera Comala by Ricardo Zohn-Muldoon has become a signature piece for Zach, performed in Guadalajara, Mexico, as well as a four-city tour in the US of the University of Notre Dame, Cleveland, Oberlin College, and Chicago in 2018-2019. Zach has also premiered and recorded two new music pieces for tenor and orchestra written specifically for him, Threshold by Prix-de-Rome winner Jesse Jones and Hold Back Thy Hours by John Liberatore. The New York Times’ James Oestrich commended Zach’s “excellent performance” of Threshold with the Argento Ensemble: “Zach Finkelstein negotiated Mr. Jones’s high tenor flights with aplomb”.

In the last two years, Zach Finkelstein has branched out into the North American vocal chamber music scene, with appearances at the Carmel Bach Festival (2016 Virginia Best Adams Fellow), the Oregon Bach Festival (2018) and on the roster of Conspirare, True Concord, Santa Fe Desert Chorale, Calgary’s Luminous Voices, and the South Dakota Chorale. In the 2018-2019 season, Zach joined Conspirare’s Grammy-nominated production of Considering Matthew Shepard as a featured soloist in a 10-city cross-country tour.

Zach’s debut album, ‘Britten and Pears: the Canticles’, featuring acclaimed recitalist Byron Schenkman, singers Vicki St. Pierre and Alexander Hajek, and Seattle Symphony principals Jeffrey Fair (horn) and Valerie Muzzolini Gordon (harp) was launched on October 1st, 2017 on Scribe Records. Zach is currently in post-production on his second full-length album, to be released in 2020 on Scribe Records, entitled ‘Dark is Yonder Town’, featuring guitarist Dieter Hennings Yeomans and new compositions by Ricardo Zohn-Muldoon and Jesse Jones.

Mr. Finkelstein is currently with Dean Artists Management and holds an Artist Diploma (Voice) from the Royal Conservatory of Music’s Glenn Gould School in Toronto and a Bachelor of Arts (Honors) in Political Science from McGill University.

January 2020

OPERA

Britten Sir Phillip Wingrave/Narrator OWEN WINGRAVE
Donizetti Nemorino ELIXIR OF LOVE
Handel Damon ACIS AND GALATEA
  Septimus THEODORA
Knussen The Cat/Milkman HIGGELTY, PIGGLETY POP!
Martinu            Schoolmaster COMEDY ON THE BRIDGE
Mozart Ferrando
Don Ottavio
Belmonte
Basilio
Tamino
COSÌ FAN TUTTE
DON GIOVANNI
DIE ENTFÜHRUNG AUS DEM SERAIL
LE NOZZE DI FIGARO
DIE ZAUBERFLÖTE
Ravel Gonzalve L’HEURE ESPAGNOLE
Rossini Mambre MOSES IN EGYPT
Thomson, Virgil St. Chavez/St. Stephen FOUR SAINTS IN THREE ACTS
Stravinsky Rooster RENARD

ORATORIO

Bach, JS MAGNIFICAT
MASS IN B-MINOR
WEIHNACHTSORATORIUM
Beethoven CHORAL FANTASY
Charpentier MASS
Handel MESSIAH
Mozart REQUIEM IN D MINOR
Rossini PETITE MESSE SOLENNELLE
Schubert MASS IN E FLAT

SELECTED SONG CYCLES

Beethoven AN DIE FERNE GELIEBTE
Brahms LIEBESLIEDER-WALTZER, OP. 52
  NEUE LIEBESLIEDER-WALTZER, OP. 65
Britten BIRTHDAY HANSEL FOR HARP AND TENOR
CANTICLE V FOR HARP AND TENOR
Ravel CINQ MELODIES POPULAIRES GRECQUES
Saint-Saëns CHRISTMAS ORATORIO
Satie SOCRATE
Vaughan Williams ON WENLOCK EDGE

*complete recital repertoire available upon request

“The Seattle-based Finkelstein immediately displayed his golden tone and poetically lyrical phrasing during his opening, calmly delivered Comfort ye, my People, that did just that, before bursting into Ev’ry Valley shall be Exalted, in which he unleashed his vocal pyrotechnics.” [Messiah, Winnipeg Symphony Orchestra] Winnipeg Free Press, Holly Harris

“Finkelstein’s refined, expressive phrasing and gorgeous tone hit the mark. The tenor was alert to every nuance Schubert uses to paint the emotions evoked by the poet, adding just enough pressure and urgency to make an apparently simple melodic turn suddenly light up with hidden colors.”
[Schubert and Britten et al., Schenkman & Friends] Memeteria by Thomas May

“Zach Finkelstein, tenor, as archangel ‘Uriel’, displayed a lyric tenor sound that was warm and smooth in his recitatives. Finkelstein’s musicianship sparkled in the beautiful lines of his aria in Part II.”
[Creation, Toronto Mendelssohn Choir] Toronto Arts Review, David Richards

“The performances…. were excellent. Zach Finkelstein negotiated Mr. Jones’s high tenor flights with aplomb.”
[Threshold, Argento Chamber Ensemble] New York Times, James R. Oestreich

“The four soloists were joined by a chorus of 8 vocal ripienists for the choral sections, and the result was truly transcendent – it was ensemble singing at its finest. My two favourite choral sections of the afternoon were ‘Wie soll ich dich empfangen fromJauchzet, frohlocket!’ And ‘Ich steh an deiner Krippen heir’ from ‘Herr, wenn die stolzen Feinde schnauben’ – both selections were achingly beautiful.  Of particular note was tenor Zachary Finkelstein who brought a refined elegance to his interpretation of the Evangelist.”
[Bach Christmas Cantatas, Early Music Vancouver] Vancouver Observer, Janna Crown 

“Zach Finkelstein sang Damon with sensitivity and grace”
[Boston premiere of Acis and Glatea, Mark Morris Dance Group] Boston Classical Review

“Zach Finkelstein (Damon) possessed a refreshingly bright timbre that contrasted the cast’s mellower male voices nicely.”
[Boston premiere of Acis and Glatea, Mark Morris Dance Group] Examiner.com

“…the live vocal music is superbly performed…the Satie score for Socrates, performed by Zach Finkelstein and pianist Colin Fowler, was impeccably done.”
[Mark Morris Dance Group] The Seattle Times, Michael Upchurch

“It is the final work, Socrates, to Erik Satie’s sublime song cycle, beautifully sung (with surtitles) by Zach Finkelstein, accompanied by Fowler on piano, which is the summation of Morris’s mastery of all he surveys.”
The Telegraph, Sarah Crompton

“There is a great depth of vocal talent out there and Mr. Steel has a good record of finding young artists. This fine cast included…the compelling tenor Zachary Finkelstein as Mambre, a menacing Egyptian priest, who looked as if he had wandered in from ‘Blue Man Group.’”
[Moses in Egypt, New York City Opera] New York Times, Anthony Tommasini

“How unfair to have seen Socrates only once…it was beautifully sung in French by Zach Finkelstein.”
Washington Post, Sarah Kaufman

Socrates is a work of subtle and majestic beauty, performed with nuanced grace by the dancers and their invaluable musical partners, pianist Fowler and tenor Zach Finkelstein.”
Cleveland Plain Dealer, Donald Rosenberg

NEWS


CARMINA BURANA WITH THE KAMLOOPS SYMPHONY
Zach joins the Kamloops Symphony to sing Carmina Burana on May 11 and 12, 2019. kamloopssymphony.com



MESSIAH
WITH SEATTLE BAROQUE ORCHESTRA AND BYRD ENSEMBLE
From April 26 through 27, 2019, Zach is in Seattle to sing Handel’s Messiah with the Seattle Baroque Orchestra (Early Music Seattle) and Byrd Ensemble. earlymusicseattle.org



BACH’S ST. JOHN PASSION FOR LUMINOUS VOICES
With the Luminous Voices, Zach sings Bach’s St. John Passion on April 19, 2019. luminousvoices.com



HAYDN’S CREATION WITH FLORIDA ORCHESTRA
Zach joins the Florida Orchestra on March 22, 23 and 24, 2019 to sing Haydn’s Creationfloridaorchestra.org



THRESHOLD
IN OBERLIN COLLEGE
Zach sings Jesse Jones’s Threshold in Oberlin College on February 26, 2019. oberlin.edu



FINAL FANTASY
WITH THE SEATTLE SYMPHONY
With the Seattle Symphony, Zach Finkelstein sings in the concert “Distant Worlds: Music from the Final Fantasy” on September 12 and 13, 2018. ffdistantworlds.com
seattlesymphony.org



SEMI-FINALIST, ORATORIO SOCIETY OF NEW YORK SOLO COMPETITION 2018
Zach has been selected as a semi-finalist in the 2018 Oratorio Society of New York Solo Competition.