Andrew Stenson is quickly building a reputation as one of the United States’ most exciting young tenors, with a brilliant tone, artistic intellect, and superb portrayals of a variety of roles. He is the first prize winner in both the 2015 Giulio Gari International Vocal Competition and 2016 Gerda Lissner Foundation Competition. He is also the recipient of a 2011 Sara Tucker Study Grant from the Richard Tucker Foundation. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program.
Mr. Stenson’s 2017-2018 season begins with his role and company debut with Wexford Festival Opera as Ernesto in Foroni’s Margherita. He also returns to the Lyric Opera of Chicago as Ferrando in Cosi fan tutte, and makes his company debut with Opera Theatre of St. Louis in the world premiere of the two-act version of An American Soldier, singing the role of Danny Chen.
Mr. Stenson’s 2016-2017 season included appearances as Tamino in Die Zauberflöte with Seattle Opera, Frederic in Pirates of Penzance with Palm Beach Opera, the title role of Candide with Théâtre du Capitole, Toulouse, and Opéra National de Bordeaux, and a company debut with Washington National Opera as Tonio in La fille du Régiment. He also appeared in concert with the Kansas City Symphony for the Mozart Requiem. He concluded the season with a return to Glyndebourne Festival Opera to sing Ernesto in Don Pasquale.
During the 2015-2016 season, Andrew Stenson made his Lyric Opera of Chicago debut, singing Gen in the world premiere of Bel Canto. He also debuted with Arizona Opera as Don Ottavio in Don Giovanni, and with Fort Worth Opera as Count Almaviva in Il barbiere di Siviglia. In concert, he sang the Messiah with the Cincinnati Symphony and Britten’s Serenade for Tenor, Horn and Strings with the Rochester Philharmonic.
In the 2014-2015 season, the tenor was in residence as a member of the Metropolitan Opera’s Lindemann Young Artist Development Program. Amongst his assignments, he performed Beppe in Pagliacci, in a new production conducted by Fabio Luisi. In the summer he returned to the Glimmerglass Festival, as the title role in Candide.
Andrew Stenson was a 2nd year member of the Lindemann Program during the 2013-2014 season. He performed Demetrius in The Enchanted Island at the Metropolitan Opera, and also made a return to Seattle Opera as Tonio in La fille du régiment, and his role debut as Belmonte in Die entführung aus dem Serail with Utah Opera. Additionally, Mr. Stenson appeared on the concert stage with the Seattle Symphony and Nashville Symphony, for Handel’s Messiah, and sang Mozart’s Requiem with the Hartford Symphony Orchestra. In June 2014, he made his Washington National Opera debut as Danny Chen in Huang Ruo’s An American Soldier.
The summer of 2012 found him with San Francisco Opera’s Merola Program for Argento’s Postcard from Morocco. During the 2012-2013 season, Mr. Stenson joined the Metropolitan Opera’s Lindemann Young Artist Development Program. His assignments at the Metropolitan Opera that season included Esquire #3 in the company’s new production of Parsifal. The season also found his debuts with the San Francisco Symphony, for Handel’s Messiah, and with the Glyndebourne Festival Opera, as Brighella in a new production of Ariadne auf Naxos.
Mr. Stenson began the 2011-2012 season with the Seattle Opera as Le Remendado in the mainstage production of Carmen. Continuing the season, he performed Orphée in Orphée et Euridice, replacing an indisposed colleague on short nice, and performed both the title role in Werther and Ernesto in Don Pasquale in the company’s Young Artist Productions. Also in 2011-2012, Mr. Stenson made his Metropolitan Opera as a Rameau Quartet Member in The Enchanted Island, and made his role debut as Cassio in Knoxville Opera’s production of Otello. The summer of 2012 found him with San Francisco Opera’s Merola Program for Argento’s Postcard from Morocco.
The tenor joined the Seattle Opera as a member of its Young Artist Program for the 2010-2011 season, where his roles included Arturo in Lucia di Lammermoor on the mainstage, and Don Ottavio in the Young Artist production of Don Giovanni. In the summer of 2011, he returned to the Glimmerglass Festival, performing Jimmy O’Keefe in John Musto’s Later the Same Evening.
In previous seasons, the tenor appeared as Martin in The Tender Land with Glimmerglass Opera. Mr. Stenson was a Young Artist with the Santa Fe Opera in 2009, where he covered Head Man in The Letter and received the D. Gramm Memorial Award. He was a Regional Finalist in the 2010 Metropolitan Opera National Council Auditions.
Mr. Stenson is the 2015 recipient of the Richard F. Gold Career Grant from the Shoshana Foundation (Lindemann Program), a Major Award Winner from Opera Index (2015), Second Prize winner from the Queen Sonja International Vocal Competition (2013), and Second Prize winner from the Licia Albanese-Puccini Foundation (2015).
Andrew Stenson completed his Master’s Degree in Music at Cincinnati College-Conservatory of Music (CCM). He earned his Bachelor of Arts in Music from Luther College.
Palm Beach Opera – Pirates of Penzance
Andrew Stenson brought his bright, clear tenor to Frederic and genuinely conveyed the tortured conflict of the character’s absurd situation. This made his Act II duet with Mabel (“Ah, leave me not to pine”) all the more touching and a highlight of the evening.”
Karl Hesser, Opera News
Lyric Opera of Chicago – Bel Canto
“…Andrew Stenson, subtly expressive as the Japanese industrialist’s translator…”
Alex Ross, The New Yorker
“Mr. Hosokawa’s polyglot translator and aide, Gen Watanabe, sung by the appealing, rich-toned tenor Andrew Stenson, winds up intensely in love with Carmen, a rough, weapon-wielding terrorist, sung by the plush-voiced mezzo-soprano J’nai Bridges, who sees in Gen a good man who can teach her languages and unleash her femininity.”
Anthony Tommasini, The New York Times
“…Gen Watanabe (the smoothly produced lyric tenor Andrew Stenson), Hosokawa’s multilingual translator.”
John von Rhein, Chicago Tribune
“…the guest of honor is Katsumi Hosokowa […]. An important Japanese electronics executive, he is heavily dependent on his young interpreter, Gen Watanabe (the charming Andrew Stenson).”
Hedy Weiss, Chicago Sun-Times
Washington National Opera – An American Soldier
“The others were largely new to WNO’s stage, starting with Andrew Stenson, an impressive tenor who sustained a lot of big singing in the title role.”
Anne Midgette, Washington Post
Utah Opera – Die Entführung aus dem Serail
“Andrew Stenson portrays the young aristocrat Belmonte, who spends the opera trying to liberate his beloved Konstanze. Stenson’s voice has a pleasing heft, and the sensitivity of his phrasing makes him a most appealing hero. Keep an eye on this up-and-coming tenor.”
Catherine Reese Newton, The Salt Lake Tribune
Lindemann Young Artist Development Program/Juilliard – Evening of Comic Operas
“What came through in this beguiling performance was that the characters of Mozart’s opera are not in on the joke. The music often conveys genuine distress, jealousy, longing and more, and the best way to make the comedy come alive is to play the piece straight. The tenor Andrew Stenson did this winningly in a melting account of Belmonte’s opening aria.”
Anthony Tommasini, The New York Times
Seattle Opera – La fille du régiment
On Sunday, the only cast change was the arrival of tenor Andrew Stenson as Tonio. Another former Young Artist, Stenson is an adroit performer who seems born to sing this music; his Tonio has a lot of finesse.”
Melinda Bargreen, Seattle Times
Glyndebourne Festival Opera – Ariadne auf Naxos
She had an exceptionally fine ‘troupe’ amongst which the tenor of Andrew Stenson stood out in a promising UK début.”
Melanie Eskenazi, MusicOMH
San Francisco Opera Merola Program – Postcard from Morocco
Andrew Stenson brought a warm-toned, fluid tenor to his serenade to a suitcase…”
Joshua Kosman, San Francisco Chronicle
Knoxville Opera – Otello
Music director Brian Salesky has made a habit in past seasons of finding fabulous young singers at the beginning of what will be amazing careers. Now we can add to that list the tenor Andrew Stenson, who sang the role of the young lieutenant Cassio. Stenson has both power and a lyrical clarity in his upper range, as well as an abundance of stage energy, natural enthusiasm, and affable charm—qualities that are getting him noticed in big opera houses around the country.”
Alan Sherrod, Metro Pulse
Seattle Opera – Orphée
Seattle Opera audience members who were ready to fall on their swords at the news that William Burden, the undisputed star of the current “Orphée et Eurydice,” was unable to perform on March 4th found much to enjoy in the remarkable performance of Burden’s cover, Andrew Stenson…Stenson commands an apparently limitless range, a highly developed vocal agility with remarkably good trills, and a passionate conviction that reaches right into the house…A mighty ovation greeted the cast and production team, with a big crescendo for Andrew Stenson and his “a star is born” afternoon in McCaw Hall.”
Melinda Bargreen, King FM 98.1
The Glimmerglass Festival – Later the Same Evening
The clear, fresh tenor voice of Andrew Stenson expressed the brimming over enthusiasm of a young gay out-of-towner on his first visit to New York.”
Fred Cohn, Opera News
Standout singers included…tenor Andrew Stenson as Jimmy, the enthusiastic first-time theater-goer.”
Heidi Waleson, The Wall Street Journal
Seattle Opera – Lucia di Lammermoor
Andrew Stenson made the most of Arturo, the man who married Lucia, only to be murdered by her on their wedding night. Stenson’s clarion tenor rang out well, and his Arturo made it clear that he thought his marriage to Lucia would save her family from a sinking social position.”
James Bash, Oregon Music News
Glimmerglass Opera – The Tender Land
Tenor Andrew Stenson gave this part a sweet poignancy and earnestness.”
Jane Dieckmann, Ithaca Times
Andrew Stenson sings with a velvety tenor as Martin.”
George Loomis, TheClassicalReview.com
Tenor Andrew Stenson as Martin had a sweet romantic voice.”
Joseph Dalton, Albany Times Union
On the plus side, tenor Andrew Stenson brought a lovely timbre and great feeling to the role of the drifter Martin.”
Heidi Waleson, The Wall Street Journal
Andrew Stenson sings with a wellrounded tenor as the drifter Martin.”
George Loomis, The Financial Times
Andrew Stenson was a thoughtful, lyrical Martin.”
Steve Smith, The New York Times
Andrew Stenson sang with lyrical sensitivity and crisp diction.”
David Shengold, The Boston Musical Intelligencer
|Bellini||Tebaldo||I Capuleti e i Montecchi|
|Britten||Albert Herring||Albert Herring|
|Britten||Male Chorus||The Rape of Lucretia|
|Britten||Prologue, Peter Quint||The Turn of the Screw|
|Copland||Martin||The Tender Land|
|Donizetti||Tonio||La fille du regiment|
|Donizetti||Arturo||Lucia di Lammermoor|
|Donizetti||Tenore||Viva la mamma|
|Floyd||Curley||Of Mice and Men|
|Glück||Orphée||Orphée et Eurydice|
|Gounod||Roméo||Roméo et Juliette|
|Moravec||Head Man||The Letter|
|Mozart||Ferrando||Così fan tutte|
|Mozart||Don Ottavio||Don Giovanni|
|Mozart||Belmonte||Die entführung aus dem Serail|
|Nicolai||Fenton||The Merry Wives of Windsor|
|Strauss||Italian Singer||Der Rosenkavalier|
|Bach||St. John Passion|
|Mozart||Mass in C|