Hailing from Norfolk, Virginia, promising young tenor Frederick Ballentine joined the Washington National Opera’s Domingo-Cafritz Young Artist Program in the fall of 2016, where he has performed Luis Griffith in Champion and made a role debut as Don Basilio in Le nozze di Figaro. He also created the roles of T. Morris Chester and Senator John Lewis in the world premiere of Appomattox to rave reviews, also with the Washington National Opera. He is a recent graduate of the Los Angeles Opera’s Domingo-Colburn-Stein Young Artist Program, where he appeared in their productions of Die Zauberflöte, Il barbiere di Siviglia, and Corgliano’s The Ghosts of Versailles, as well as Patrick Morganelli’s cinematic opera Hercules vs Vampires. Future engagements include the Armored Man in Die Zauberflöte with Seattle Opera and a return to Glimmerglass Opera as Sportin’ Life in Porgy and Bess, as well as debuts with the Metropolitan OperaDe Nederlandse Operaand English National Opera.

Recent engagements include Reverend Parris in Robert Ward’s The Crucible at the Glimmerglass Festival under the direction of Francesca Zambello, as well as a return to Los Angeles Opera to sing Amon in Akhnaten. In 2015 he was a Filene Young Artist with Wolf Trap Opera, where he sang Count Almaviva in The Ghosts of Versailles. He has also trained with The Opera Theatre of St. Louis and the Aspen Music Opera Center.

Mr. Ballentine has performed with the Los Angeles Opera on multiple occasions as a former Domingo-Colburn-Stein Young Artist. His most notable performances were in Barrie Kosky’s wildly popular production of The Magic Flute. He is featured on the company’s recently produced CD of The Ghosts of Versailles, as well as on My Christmas, Placido Domingo’s newest Christmas album. Most recently, Mr. Ballentine has had the pleasure of returning to Los Angeles Opera to sing the role of Amon in Philip Glass’s Akhnaten.

In concert, Mr. Ballentine has appeared as a featured soloist with the New York Choral Society for their Christmas Concert, with Naples Philharmonic and the Colburn School for Beethoven’s Ninth Symphony, the Los Angeles Philharmonic for Beethoven’s Choral Fantasy and Arvo Prt’s Miserere, and the Simon Bolivar Orchestra of Venezuela as Pang in Turandot. He is also featured on Placido Doming’s newest Christmas album, My Christmas.

 

Champion – Washington National Opera

Frederick Ballentine as old Emile’s caretaker proved moving with his growing conflicting feeligns of frustration and gentle loving.”

Susan Galbraith, DC Theatre Scene

“Tenor Frederick Ballentine as Luis Griffith was well-cast and naturally compelling.”

David Friscic, DC Metro Theater Arts

“Tenor Frederick Ballentine sings beautifully and is exceptional as Luis Griffith, the elderly Emile’s caregiver.”

Kate Wingfield, Metro Weekly

20 Minute Operas – Washington National Opera

But, as the enigmatic, willing to please, but still-learning Adam, Frederick Ballentine excelled the mark in his deeply complex role, as he interpreted a still evolving character attempting to sort out the conflict between his full-blown military prowess and his still child-like human antecedent as his developing personality tries to sort out what it all means.”

Terry Ponick, Communities Digital News

The Crucible – Glimmerglass Festival Opera

Tenors Frederick Ballentine and Ian Koziara sang their respective roles as the overly-concerned-with-his-social-position clergyman Samuel Parris and the odious bailiff Ezekiel Cheever with verve and vastly distinct vocal character, one’s pinging and intense, the other’s as slippery as Judge Danforth’s.”

Richard Carter, Blasting News

Justice at the Opera with Justice Ruth Bader Ginsburg – Washington National Opera

Not that levity was always appropriate. Frederick Ballentine, a promising tenor, had especially heavy lifting with “E lucevan le stele” from “Tosca,” the Seguidilla scene from “Carmen” and a painful aria from Philip Glass’s “Appomattox,” the opera presented here so successfully in 2015, recounting the Ku Klux Klan’s slaughter of a hundred black militiamen. (Ginsburg introduced this segment by outlining her dissent in the 2013 decision revising the Voting Rights Act.) Ballentine’s voice is still growing toward the final measure of heroic “ping” for the Puccini, but he had every bit of the dramatic and musical heft to bring across the biting scene from Glass’s work, which held up very well against the other excerpts.”

Anne Midgette, The Washington Post

Appomattox – Washington National Opera

Frederick Ballentine also stands out with two wonderful stirring portraits of activists. As T. Morris Chester, Freeman and Philadelphia African American journalist in the 1860’s, and then the civil rights leader John Lewis, he was able to show the arc throughout history of the seething drive to overcome the inequities and the lack of retribution for murders of his people that sadly continues.”

Susan Galbraith, DC Theatre Scene

“Ballentine sang some of the most painful arias in the opera: a description of the murder of Jimmie Lee Jackson, a civil rights activist, in Act II, and an account of the Colfax massacre of 1873, in which dozens of black men were slaughtered in cold blood.”

Anne Midgette, The Washington Post

“Frederick Ballentine wielded his vibrant tenor expressively as black Civil War correspondent T. Morris Chester and made  a strong impression, too, as Student Non-Violent Coordinating Committee chairman John Lewis.”

Tim Smith, Opera News

COMPOSER OPERA ROLE
Bizet Carmen Don Jose
Britten Peter Grimes Peter Grimes
Britten The Rape of Lucretia Male Chorus
Britten The Turn of the Screw Peter Quint
Corgliano The Ghosts of Versailles Almaviva / Begaress
Mozart La clemenza di Tito Tito
Mozart Idomeneo Idomeneo
Mozart Die Zauberflöte Tamino
Tchaikovsky Eugene Onegin Lensky
Verdi Macbeth Macduff
Verdi Rigoletto Duke of Mantua
Verdi La traviata Alfredo
Wagner Ring Cycle Loge
Weber Der Freischütz Max