| Doug MacNaughton |
Introduction “MacNaughton used his attractive voice to embrace all the nuances of the libretto. His control of Lucas’ long reflective monologue was masterful and he is a great singing actor” Opera Canada – Paula Citron BiographyOriginally from Brandon, Manitoba, Doug MacNaughton began his operatic career with Edmonton Opera in 1982, touring productions such as HMS Pinafore and Cinderella throughout the province. Since then, he has performed all over Canada, the US and Europe in a variety of styles and genres. He is known for his versatility, playing comedic and serious characters with ease. Equally at home in opera, musical theatre, orchestral concerts or chamber recitals, his career highlights include Don Alfonso in Così fan tutte (Pacific Opera Victoria), Wozzeck in Wozzeck (Banff Centre), Cervantes/Don Quixote in Man of La Mancha (Stirling Festival Theatre), Enjolras in Les Misérables (Mirvish Productions), Messiah with many orchestras across Canada, H. K. Gruber's Frankenstein (Victoria Symphony, Saskatoon Symphony) and Dave Brubeck's The Light in the Wilderness (Elora Festival Singers). He has been commissioning Canadian composers to write pieces for baritone and guitar, which he then performs to his own accompaniment as a 21st Century Troubadour. Performances in the 2011/2012 season include John Beckwith's Crazy to Kill for Toronto Masque Theatre; King Leontes in Like an Old Tale, an adaptation of Shakespeare's A Winter's Tale for Jumblies Theatre; a one man cabaret as part of the Green Door Cabaret series; Maestro Spinelloccio in Gianni Schicchi for the Canadian Opera Company as well as many concert and recital engagements. For further information, please visit www.DougMacNaughton.com January 2012
Full Repertoire
Opera
Concert
Musical Theatre
Competitions Canadian Women’s Club of New York City Award to Best Canadian Singer
Training Music
Acting
Voice Teachers
Engaged By
Reviews"Baritone Doug MacNaughton as Maximilian was hysterical. With his full, solidly reliable voice and immense comic capabilities, he gave a standout performance. He fearlessly approached the 'politically incorrect' aspects of his role, making them funny and palatable. And what a falsetto!" Winnipeg Free Press - Gwenda Nemerofsky
“MacNaughton was incredibly funny during his interpretation of a Rossini aria from AN ITALIAN GIRL in Algiers, showing that good acting is a big part of expressing an operatic theme.” The Star Phoenix – Joanne Paulson
“Doug MacNaughton…his Wilson is an understated figure (in sharp contrast to his over-the-top portrayal of the Scottish choirmaster in Act I), but he achieves an uncanny spookiness when he sings of the mystical vision that led him to found his sect.” The Globe and Mail – Colin Eatock“La meilleure voix chantée est celle du baryton Doug MacNaughton, très bon comedian par ailleurs.” La Presse, Montreal – Claude Gingras“Doug MacNaughton as Dr. Falke possesses the chemistry to catalyze the interaction among the characters and to anchor the somewhat chaotic storyline.” Calgary Sun – Lori Benjamin“Le baryton Doug MacNaughton, en Taddeo, un poltron sympathique, est impayable. Comme chanteur, il a aussi beaucoup d’esprit. Assez, si je ne me trompe, pour improviser tout à coup une petite cadence à couleur orientale. Ces trios ou quatre notes furent si à propos que Rossini lui-même les aurait sans doute appréciées.” Le Soleil – Richard Boisvert“Doug MacNaughton as Wozzeck, played his role with unflinching courage and sang with impassioned clarity.” The Gazette - Ray Conlogue“Papageno, homme de la nature (par contraste avec celui de la Raison et celui de la Sagesse), c’est Doug MacNaughton, voix soignée, elegant même don’t le jeu—assez déclamé au premier acte—s’est sensiblement amélioré au fur et à mesure que progressait l’opéra. Le Droit – Jean Jacques van Vlasselaer“MacNaughton gave an excellent account of Figaro in the opening duet and later returned for his high point of the evening, the Prologue from Leoncavallo’s . PAGLIACCI. It made me want to bypass the rest of the excerpts in favour of a complete performance of the opera.” Prince George – Stephen Pederson“On se souvient encore du jeu désopilant de Doug MacNaughton dans L’ITALIENNE A ALGERI, vu en Octobre sur la même scène. En Papageno, le baryton est encore meilleur. De toute l’équipe, it est certainement celui qui s’investit le plus, celui qui possède le sens de l’à-propos le plus développé. De puis, il chante très bien.” Le Soleil – Richard Boisvert“Doug MacNaughton as Wozzeck played…with unflinching courage and sang with impassioned clarity.’ (Montreal Opera) |