Dominic Armstrong has quickly established himself internationally as an artist of superb and distinguished musicality and characterization. He is a winner of the 2013 George London Foundation Vocal Competition.
This season, Dominic joins the Milwaukee Symphony for Bach’s Magnificat, Curtis on Tour for their annual touring initiative, Hudson Hall as Jo the Loiterer in The Mother of us All, and appears with both Los Angeles Opera and the Center for Contemporary Opera in a double bill of two Gordon Getty one-act operas, Usher House and The Canterville Ghost, as Edgar Allen Poe and Duke Cecil of Yorkshire.
Last season, Mr. Armstrong returned to Dayton Opera as Don José in Carmen and to the Lansing Symphony for Beethoven’s Ninth Symphony. In January he joined Beth Morrison Projects for the New York City performances of Breaking the Waves. Previously, Dominic traveled to Russia to perform Britten’s War Requeim with the Russian National Orchestra and subsequently performed in a series of concerts, collaborating with Craig Rutenberg. He also made his company debut with Opera Colorado as Arthur Dimmesdale in the anticipated world premiere of The Scarlet Letter, sang the Second Jew in Salome with the Detroit Symphony Orchestra, and performed in recital with the Brooklyn Art Song Society. During the summer of 2016, Mr. Armstrong performed the role of Alfredo in La traviata with Chautauqua Opera.
Mr. Armstrong began the 2014-2015 season debuting the roles of Haydn and the Bartender in the world premiere performances of The Classical Style at the Ojai Festival, Cal Performances, and Carnegie Hall, and debuted with both On Site Opera and The Phoenecia International Festival of the Voice in a co-production of Frédéric Chaslin’s new opera Clarimonde. He also made his debut with Dayton Opera as Tamino in Die Zauberflöte, returned to Opera Memphis as The Husband in Les mamelles de Tirésias, and joined Ash Lawn Opera as Freddy in its summer production of My Fair Lady. On the concert stage, he appeared with the Brooklyn Art Song Society in recital, sang Lawrence Siegel’s Kaddish with the Rochester Philharmonic Orchestra, and sang the Verdi Requiem with the Waterbury Symphony.
During the 2013-2014 season, Mr. Armstrong debuted with the New York Philharmonic, in acclaimed performances of Britten’s Spring Symphony, conducted by Music Director Alan Gilbert. The tenor essayed his first performance of Cavaradossi in Tosca with the Northwest Indiana Symphony, and sang the First Jew in Salome with the Philadelphia Orchestra and Opera Philadelphia, conducted by Yannick Nézet-Séguin, as well as the Third Jew in performances of the same opera with the Boston Symphony. Additionally, Mr. Amstrong appeared in holiday concerts with the Oregon Symphony; in recital with the Brooklyn Art Song Society; in Mozart’s Requiem with the Lansing Symphony; with both the Symphony in C and Princeton Symphony for Britten’s Serenade; and in recital with Christine Brewer and Craig Rutenberg, under the auspices of the George London Foundation.
In the 2012-13 season, Dominic Armstrong returned to New York City Opera to sing Peter Quint in their production of The Turn of the Screw, followed by his debuts with Carnegie Hall and Lyric Opera of Chicago, as Steve in Andre Prévin’s A Streetcar Named Desire. He closed the season premiering two new operas: La Reina with American Lyric Theater and The Blind with American Opera Projects.
Having been seen in Chicago Opera Theatre’s Moscow, Cheryomushki (Opera News called his performance of Sergei a “honeyed account”), Mr. Armstrong’s 2011-2012 season also included his Memphis Opera debut as Eisenstein in Die Fledermaus and a return to Lorin Maazel’s Castleton Festival to cover Don José and perform the role of Le Remendado in Carmen. These assignments marked the artist’s fourth season with the festival, where he has also been seen as Macheath in Britten’s The Beggar’s Opera, Peter Quint in The Turn of the Screw, Le Petit Vieillard in L’enfant et les sortilèges, and Luigi in Il Tabarro.
Previous seasons have found Mr. Armstrong performing with companies such as: Opera Company of Philadelphia as Flavio in Norma and Borsa in Rigoletto; NYCO as François/Jazz Trio in A Quiet Place; Chicago Opera Theatre in the title role in La Clemenza di Tito; Deutsche Oper Berlin as Parpignol in La Bohème; Opera Regio Torino as the Gran Sacerdote in Idomeneo; Reverend Adams in Peter Grimes; and Heinrich der Schreiber in Tannhaüser Wexford Festival Opera for Count Almaviva in Ghosts of Versailles; Wolf Trap Opera as Candide alongside Jason Alexander in Candide and as Ulisse in Il ritorno d’Ulisse in patria; and Musica Viva Hong Kong for Nemorino in L’Elisir d’amore.
An avid recitalist, Mr. Armstrong has maintained frequent performances of recital repertoire as well. Recent recitals have included the collected songs of Duparc with soprano Susanna Phillips, as well as performances of Brahms’ Die Schöne Magelone, and the Twickenham Festival, in a program featuring On Wenlock Edge, and To Julia. He has also been a participant of the Steans Institute at the Ravinia Festival in Chicago.
Mr. Armstrong’s numerous prizes and awards include being one of the Grand Finalists in the 2008 National Council Auditions with the Metropolitan Opera, a 2013 George London Foundation Winner, the SAI Vocal Competition, Gold Medal Aria Competition (Truman State University), The Sullivan Awards, Lucrezia Bori Grant, Opera Index, Gerda Lissner Award, The William Boldyga and and Betty Myers Incentive Award from Annapolis Opera, NATS State and Regional winner, and he was the 2009 winner of the Liederkranz Art Song Competition. He holds degrees from Truman State University, The Juilliard School, and The Curtis Institute.
PROTOTYPE Festival – Breaking the Waves
Dominic Armstrong, in the pivotal role of Dr. Richardson, best captures a sense of mastery of the material, bridging the chasm between the sweeping music and the vernacular lyrics. His scenes with Bess are likewise among the most memorable of the evening. His performance possesses a uniquely unwavering sense of purpose.”
Jack Wernick, The Theatre Times
Opera Colorado – The Scarlet Letter
As Dimmesdale, tenor Dominic Armstrong sang with impeccable control and focus, smartly balancing a secret love for Prynne against his self-righteous pose as the moral leader of the community.”
Marc Shulgold, Opera News
New York Philharmonic – Britten’s “Spring Symphony”
“And the tenor Dominic Armstrong, stepping in for an ailing Paul Appleby, gave an incisive, characterful, and, under the circumstances, heroic performance–he had seen the score for the first time that morning.” Alex Ross, The New Yorker
2013 George London Foundation Finals
In the presence of a jury including opera greats like Nedda Casei and George Shirley, contestants apparently felt compelled to force out top notes and sing very loudly — notwithstanding the aggressively amplifying acoustics of the Gilder Lehrman Hall at the Morgan Library & Museum. Given these conditions Dominic Armstrong’s gripping rendition of the mad scene from “Peter Grimes” on Friday afternoon was all the more remarkable: an unsettling, powerful performance in which Mr. Armstrong used his muscular tenor as a vehicle to bring Britten’s art to life. Mr. Armstrong was one of the few memorable winners of this year’s seven $10,000 George London Foundation Awards.” Corinna da Fonseca-Wollheim, The New York Times
New York City Opera – The Turn of the Screw
In the New York City Opera’s updated production, which opened on Sunday afternoon at the Brooklyn Academy of Music, as the Prologue (the clarion-voiced tenor Dominic Armstrong) tells us the story, we see it depicted: The Governess is in a job interview with a man who turns out to be the uncle and absent guardian of the troubled children.[…]In this production Mr. Armstrong sang the lines with such crisp clarity and full-bodied sound that the situation he described seemed all the more creepy.” Anthony Tommasini, The New York Times …tenor Dominic Armstrong as the Prologue and Peter Quint gives a masterly performance. Early on, a handful of times, we hear the inhaled syllables and gluey slides that sometimes marred the singing of the great Sir Peter Pears, who created the Prologue and Quint, but Armstrong quickly leaves such foibles behind. He has a richer, more seductive timbre than Pears, and he excels in Britten’s declamatory writing—his words preternaturally crisp and distinct—and in the sultry, lavish fioritura with which Quint seeks to bewitch Miles, or so the governess hears and believes. Armstrong makes the most of his standard-issue zombie getup, his eyes wild and glazed, his presence a black hole of venomous purpose.” Marion Lignana Rosenberg, The Classical Review …Dominic Armstrong’s macabre Quint, sung in a colorful tenor ranging from whispers to blood-chilling cries.” James Jorden, The New York Post
Twickenham Festival – On Wenlock Edge
Ralph Vaughan Williams’ “On Wenlock Edge” brought out rawness of different sort. From the work’s breezy chromaticism to painterly vocals, this performance was dominated by tenor Dominic Armstrong, another young vocalist whose career is starting to skyrocket. His singing is conversational, yet powerful and confident. Restless introspection turned to dramatic fierceness in “Is my team ploughing,” then to reflection in “Clun.” The accompanying string quartet and piano blended beautifully.” The Birmingham News
Chicago Opera Theater – Moscow, Cheryomushki
Vocal standouts among the exuberant cast included tenor Dominic Armstrong, with his honeyed account of the lovesick Glushkov…” Opera News Dominic Armstrong was a consistently engaging presence as Boris’s shy chauffeur friend Sergei, showing ease in the musical vernacular and singing sweetly with his high tenor.” Chicago Classical Review Tenor Dominic Armstrong, as the shy but big-hearted Sergei, is a cleverly nuanced artist with a silvery voice who won his audience over immediately, belying the timid fellow he played.” Chicago on the Aisle
Musica Viva Hong Kong – L’elisir d’amore
The opera belongs to the tenor and Dominic Armstrong’s Nemorino is a star turn, extremely funny and endearing without pathos. His singing is consistently strong, with bright tone and firm control. The high point of the role is the great aria Una furtiva lagrima. This staple of the repertoire can easily become hackneyed, but Armstrong sang it with affecting simplicity and feeling, winning a deserved ovation from the audience.” South China Morning Post
New York City Opera – A Quiet Place
With tenor Dominic Armstrong, a strong François, the three make an unbeatable trio.” The Wall Street Journal Doing double duty as the Jazz Trio and Dede, François and Junior, Sara Jakubiak, Dominic Armstrong and Joshua Hopkins, respectively, were all superb, singing and acting with urgency, clarity and a sense of occasion.” ClassicsToday.com
Opera Regio Torino – Peter Grimes
Among other members of the cast, tenor Dominic Armstrong as Reverend Adams and contralto Elena Zilio as Mrs Sedley were especially keen on pointing out the hypocrisy of their characters.” The Opera Critic
Wexford Festival Opera – Ghosts of Versailles
Tenor Dominic Armstrong was a find as Almaviva.” St. Louis Post Dispatch
Wolf Trap Opera – Il ritorno d’Ulisse in patria
In the title role of the Trojan War hero trying to return home, tenor Dominic Armstrong left a sizable mark. His phrasing invariably burned with import, so that every word communicated, and his solid tone rang out handsomely.” Opera News Dominic Armstrong was a vocally strong, passionate Ulysses.” The Washington Post Tenor Dominic Armstrong showed a more heroic side to his voice, after his more lyric Macheath in the Castleton Festival’s Beggar’s Opera.” Ionarts
Castleton Festival – The Beggar’s Opera
Dominic Armstrong was phenomenal as Macheath, the opera’s central character. His broadly comic acting style was perfect for the role, and his crystal-clear, magnificent tenor voice predicts a great future ahead.” The Washington Times Tenor Dominic Armstrong was a charming Macheath, with a sweet upper register.” Ionarts Standouts among a large, impressive cast included the versatile Dominic Armstrong as a suave, oily Macheath.” The New York Times While all the singers and players performed admirably, tenor Dominic Armstrong’s acting made him a clear standout.” The Dresser Blog
Wolf Trap Opera – Candide
As Candide, Dominic Armstrong had….a lustrous, sweet voice [that] came through in “It Must Be Me.” Washington Post Tenor Dominic Armstrong was powerful but affecting as the confused Candide.” Washington Times
Chicago Opera Theater – La Clemenza di Tito
Tenor Dominic Armstrong…offered a beautiful timber and prodigious breath control in Tito’s ‘Se’all impero’.” Opera News Tenor Dominic Armstrong tackles the difficult role of Tito with a palpable love of its challenges.” Chicago Sun-Times Emperor Titus literally staggers under the burden of power. Hearing Armstrong’s powerful, warm tenor hurtling through Mozart’s demanding arias and duets, however, it was difficult to accept Alden’s vision of a weak-willed Tito.” Musical America Armstrong’s Tito wielded a strong, attractive tenor…” Chicago Tribune Dominic Armstrong, who sang the role of Tito, possesses a strong and beautiful voice, and if this performance is any guide, he will have a bright career ahead of him.” OperaOnline.us Dominic Armstrong’s Tito belted his excellent tenor with ablomb and emotional range.” Chicago Critic.com
|Bernstein||Francois||A Quiet Place|
|Britten||Mayor Upfold||Albert Herring|
|Britten||Horace Adams||Peter Grimes|
|Britten||Captain Macheath||The Beggar’s Opera|
|Britten||Peter Quint||The Turn of the Screw|
|Britten||Prologue||The Turn of the Screw|
|Corigliano||Count Almaviva||Ghosts of Versailles|
|Monteverdi||Ulisse||Il ritorno d’Ulisse in patria|
|Monteverdi||L’humana fragilita||Il ritorno d’Ulisse in patria|
|Mozart||Tito||La Clemenza di Tito|
|Prévin||Steve, Mitch||A Streetcar Named Desire|
|Stravinsky||Sellem||The Rake’s Progress|
|Stravinsky||Le Pecheur||Le Rossignol|
|J. Strauss||Eisenstein||Die Fledermaus|