| Gregory Dahl |
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Introduction "Sharpless, the American Consul and the closest thing Pinkerton has to a conscience, received an unusually three-dimensional incarnation from baritone Gregory Dahl, whose voice had sufficient authority to support the characterization, without going overboard. ”
The Ottawa Citizen, Richard Todd Biography
Gregory Dahl has boldly staked his claim to a position of prominence among baritones of his generation with performances notable for richness of characterization and a remarkable vocal authority. Mr. Dahl’s recent performances in PELLEAS ET MELISANDE for Opera Theater of St. Louis were hailed for his “appealingly lyrical baritone [that] emphasized Golaud’s inner turmoil over his villainy”. His 2011-2012 season is packed with major roles including Jokanaan in SALOME for Manitoba Opera, Conte di Luna in IL TROVATORE for L’Opéra de Montréal, Escamillo in CARMEN for the Brott Music Festival, Alfio in CAVALLERIA RUSTICANA and Tonio in PAGLIACCO for Edmonton Opera and the dual roles of Crespel and Schlemil in LES CONTES D’HOFFMANN for the Canadian Opera Company. His 2010-2011 season included Enrico in LUCIA DI LAMMERMOOR and the World Premiere of Estacio and Murrell’s LILLIAN ALLING for Vancouver Opera, Bach’s Mass in B Minor for the Vancouver Symphony, Verdi’s REQUIEM for the Regina Symphony, CAVALLERIA RUSTICANA and PAGLIACCI for Opera Hamilton and a return to Enrico for Opera Lyra Ottawa. Dahl’s 2009-2010 season began with the title role in GIANNI SCHICCHI and Tonio in PAGLIACCI for L’Opéra de Montréal and continued with Nick Shadow in THE RAKE’S PROGRESS for Pacific Opera Victoria. He later sang Beethoven’s Symphony No. 9 with Tovey and the Vancouver Symphony, Fauré’s REQUIEM with the Windsor Symphony, and Iago in Edmonton Opera’s OTELLO, a role he covered for the Canadian Opera Company. In 2008-2009, he was featured as Yermalov in the Canadian Opera Company’s WAR AND PEACE and was later heard as Musiklehrer in ARIADNE AUF NAXOS for Calgary Opera, Zurga in LES PECHEURS DE PERLES for Edmonton Opera, and on the concert stage sang Beethoven’s Symphony No. 9 for the Winnipeg Symphony and Regina Symphony. His 2007-2008 season included Alfio in CAVALLERIA RUSTICANA in Vancouver, Capt. Corcoran HMS PINAFORE in Edmonton, Germont in LA TRAVIATA for Opera Lyra Ottawa, Hubbard in REGINA for Pacific Opera Victoria, the title role in RIGOLETTO for Saskatoon Opera and MESSIAH for the Southern Manitoba Choral Society. In 2006-2007 he appeared in the title role in DON GIOVANNI for Edmonton Opera, later repeated for Pacific Opera Victoria and Orchestra London. He was Falke in DIE FLEDERMAUS for Manitoba Opera and returned to Edmonton Opera for Figaro in 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 has since been hailed in such roles as Sharpless in MADAMA BUTTERFLY (Vancouver Opera), Jokanaan in SALOME (Opera Theatre of St. Louis) and Belcore in L’ELISIR D’AMORE (Manitoba Opera). In another world premiere, he impressed international audiences with his creation of Charlie in Calgary Opera’s production of Estacio’s FILUMENA, a role he later reprised for the Edmonton Opera. His Edmonton FILUMENA was filmed for release in the DVD format and joins BEATRICE CHANCY on his growing list of operas-on-film. Further credits include Ford in FALSTAFF for Opera Lyra Ottawa, Ping in Vancouver Opera’s TURANDOT and George in the Canadian Premiere of Heggie’s DEAD MAN WALKING, presented by the Calgary Opera. On the concert platform, he sang MESSIAH with the Vancouver Chamber Choir and the Victoria Symphony and for the Grand Philharmonic Choir he appeared in Mozart’s MASS in C minor coupled with Holman’s MAGNIFICAT. Mr. Dahl has been heard in DIE SCHÖPFUNG with the Vancouver Symphony, as Figaro in IL BARBIERE DI SIVIGLIA for Saskatoon Opera and as Eisenstein in DIE FLEDERMAUS for Saskatoon Opera. He was Ping in TURANDOT with the Canadian Opera Company and the Edmonton Opera, Belcore in L’ELISIR D’AMORE with l’Opéra de Québec, and Silvio in PAGLIACCI for Manitoba Opera. In the contemporary vein, Mr. Dahl has 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. Other highlights from past seasons include Marcello in LA BOHÈME with Opera Ontario, the title role in MIKADO for Toronto Operetta Theatre, Frank in DIE FLEDERMAUS for Vancouver Opera, Antonio in IL VIAGGIO A REIMS and Junius in THE RAPE OF LUCRETIA with the Canadian Opera Company. The imposing Winnipegger studied at the University of Manitoba, The Banff Centre for the Arts and the University of Toronto Opera Division. September 2011
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Reviews“Canadian baritone Gregory Dahl was a commanding presence, with his rich timbre and fine legato.” “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.” “…baritone Gregory Dahl imbued all the arrogance of a celebrated palmer, Bryant or Lemieux. He enhanced his depiction with exaggerated posture and swagger that was not only effective, but genuine. His vocal description of the confrontation his ilk has with the bull was viscerally impacting.” “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.” “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.” “ Gregory Dahl (Ford) was particularly successful in the vocal department.” ( Opera Lyra, FALSTAFF) “ 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.” “ Gregory Dahl was an appropriately pompous Sergeant Belcore in voice and demeanor, his resonant baritone, a perfect fit for the role.” “…his powerful voice and temperate realization of the role were among the production's highlights.” |