American baritone Troy Cook recently debuted both the Hamburgische Staatsoper as Marcello inLa bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and the Royal Opera, Covent Garden as Guglielmo in Così fan tutte.

The 2013-2014 season brings performances as Paolo in Simon Boccanegra with Kentucky Opera, Riccardo in Boston Lyric Opera’s I puritani, Marcello in La bohème with Pittsburgh Opera andNorth Carolina Opera, and the Marquis de la Force in Poulenc’s Dialogues des Carmélites withOpera Theatre of St. Louis. Following last season’s success as Ravenal in Show Boat, Troy Cook returns to Central City Opera for Captain Von Trapp in The Sound of Music. Mr. Cook also appears in concert this season with the Jacksonville Symphony Orchestra and Winston Salem Symphony. Future seasons include performances with Opera PhiladelphiaSan Diego Opera, Dallas Opera, Utah Opera, and Austin Lyric Opera.

During the 2012-2013 season, Troy Cook appeared as Marcello in La bohème and Father Palmer inSilent Night with Opera Philadelphia, in Handel’s Messiah with the Boise Philharmonic, and Lord Cecil in Maria Stuarda with Washington Concert Opera. He concluded the season with a debut as Silvio in Pagliacci with Opera Theatre of Saint Louis, and in a return to Central City Opera as Gaylord Ravenal in Show Boat.

Troy Cook’s 2011-2012 season included appearances with Minnesota Opera, as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra, as Marcello in La bohèmeOpera Philadelphia, as Lescaut in Manon Lescaut; and the Winston-Salem Symphony, for performances of Carmina Burana. He closed the season as Marcello in La bohème with Central City Opera. Additionally, he joined Opera Rara for a recording of Donizetti’s Caterina Cornaro.

In the 2010-2011 season, Mr. Cook returned to Lyric Opera of Kansas City as the Count in Le nozze di Figaro, sang his first Escamillo in Carmen at Green Mountain Opera Festival, and appeared on the concert stage in performances of the Beethoven’s Ninth Symphony with thePacific Symphony and the Arizona Musicfest, the St. John Passion with the Portland Symphony Orchestra, and Handel’s Messiah with the Winston-Salem Symphony.

He returned to Opera Philadelphia as Sharpless in Madama Butterfly to open the 2009-10 season, appeared in Bilbao for Poulenc’s Les mamelles de Tirésias and was recently seen in Santanderand Bilbao for Il viaggio a Rheims. He also performed concerts with the Portland Symphony and the Arizona Musicfest and was Albert in Kentucky Opera’s Werther. 2009-2010 also included Marcello in Florida Grand Opera’s new production of La bohème and just prior he was Enrico inLas Palmas’ Lucia di Lammermoor.

Troy Cook opened 2007-08 as Zurga with Lyric Opera of Kansas City. Just prior, he sang in a gala concert with Opera Pacific, as Marcello in La bohème with Berkshire Opera and performed Figaro in Il barbiere di Siviglia for Opera Omaha. 2007 began with his German debut with the Semperoper Dresden as Marcello, and he also performed Marcello in his Opera Philadelphia debut to open their season. In addition, he returned to the American Ballet Theater in New York and Washington D.C. for the Kindertotenlieder. In 2006 he was Sharpless for Berkshire Opera and debuted with La Monnaie, Brussels in a gala concert of Pagliacci. In spring 2006, he performed with the Los Angeles Philharmonic in a world-premiere conducted by Esa-Pekka Salonen; bowed as Enrico inKansas City’s Lucia di Lammermoor; appeared as a soloist in Carmina burana with the San Antonio Symphony, and performed Zurga with Opera Carolina. He also sang in a Richard Tucker Foundation concert in New York City. In 2004/05 he returned to San Francisco Opera as Mr. Flint in Billy Budd. Reviews of his Figaro in Il barbiere di Siviglia the previous season at San Francisco Opera included: “Baritone Troy Cook is spectacular in the role of Figaro. He’s insolent, charming, self-amused, a rogue…His patter and roulades are precise and ring out fearlessly.”

Other recent appearances include Figaro in Il barbiere di Siviglia at Fort Worth Opera, Guglielmo with Santa Fe Opera and Toledo Opera, solo recitals under the auspices of the Marilyn Horne Foundation and Carmina burana with the American Ballet Theater at Lincoln Center. Mr. Cook also appeared with the Metropolitan Opera in L’enfant et les sortileges and in a new production ofSly in 2001. In the fall of 2000 he made his European debut as Giacomo in Beatrix Cenci with theGrand Théâtre de Genève followed by Schaunard in La bohème and Morales in Carmen at theMetropolitan Opera. Other engagements included productions of Barbiere with Florida Grand Opera and Minnesota Opera.

Troy Cook made his New York City Opera debut in the 1999/2000 season with roles in the trilogy,Central Park, which he also sang with Glimmerglass Opera. Those performances were taped and later telecast on the PBS series Great Performances. He was a member of the Apprentice Artist Program of the Santa Fe Opera, the Florida Grand Opera Studio and holds a Master of Music degree from the Eastman School of Music. He has studied voice with Bill Schuman.

Headshot by Arielle Doneson.

Boston Lyric Opera – I puritani

“…it’s Troy Cook’s Richard, heartbreaking in his cavatina “Ah! per sempre io ti perdei,” who seems the more passionate lover, and there’s an excruciating moment when Elvira, thinking he’s Arthur, snuggles up to him.”

Jeffrey Gantz, The Boston Globe

Pittsburgh Opera – La bohème

For his part, Mr. Cook showed off the multiple sides of Marcello. He played an equally comic counterpart to Musetta but still lent vigor to his character with powerful vocals, particularly at the end of the festive second act.
Elizabeth Bloom, Pittsburgh Post-Gazette

Central City Opera – Show Boat

The vocal star of the evening was baritone Troy Cook as the slick gambler Gaylord Ravenal. In his second principal role for the company, he just kept ringing out beautiful sounds, making it easy to believe that the show’s young ingenue, Magnolia, could easily fall for him.
David Sckolnik, The Gazette

Cook is a commanding presence as the flawed romantic lead, gambler Gaylord Ravenal, capable of switching quickly from high comedy to heartrending pathos and again to suave romance. Gorgeously presenting several signature songs, including “Make Believe,” Cook is always the center when onstage.
Kelly Dean Hansen, The Daily Camera

Opera Philadelphia – Silent Night

On the Scottish side, Troy Cook, as the chaplain, sang Puts’ setting of the Prayer of St. Francis so effectively that it was the emotional center of Act II.
David Patrick Stearns, Philadelphia Inquirer

Opera Philadelphia – La bohème

Her boyfriend Marcello is sung by Troy Cook with the sort of baritone that could promise a great future in Verdi…
David Patrick Stearns, Philadelphia Inquirer

Central City Opera – La bohème

Baritone Troy Cook offered a strong, well-rounded portrayal of Marcello…
Kyle MacMillan, Opera News

In strong supporting performances, baritone Troy Cook shone as the gullible but good-hearted Marcello…
Sabine Kortals, Denver Post

Best of the men was Troy Cook, whose Marcello ripped through the house with a manly baritone and a maniacal presence.
David Sckolnik,

Opera Philadelphia – Manon Lescaut

Baritone Troy Cook was first-rate as Manon’s venal brother, Lescaut…
Craig Smith,

Minnesota Opera – Silent Night

The many male voices are well-differentiated: Troy Cook’s Palmer, Andrew Wilkowske’s Ponchel and the trio of lieutenants (Liam Bonner, Craig Irvin, Gabriel Preisser) merit special praise.
Larry Fuchsberg, Star Tribune

Other notable singers were…Troy Cook as a Scottish priest.
Heidi Waleson, The Wall Street Journal

Royal Opera House, Covent Garden – Così fan tutte

Troy Cook’s excellent baritone was in fine fettle from the off.
Colin Clarke, The Opera Critic

As a heavy metal aficionado, Guglielmo (Troy Cook) was suitably cock-sure, and petulant in his comeuppance, angrily muttering uncharitable thought during the Ab canon at the wedding.
Claire Seymor,

Troy Cook, also American-half the cast is- made for a fine Guglielmo, with an extremely well-schooled lyric baritone of ideal Mozartian weight, evenness, flexibility and colour, all of which is a fine irony given that of all the principals, he gets both the least, and the worst music to sing (“non siate ritrosi” and “Donne miei” are both pretty weak specimens).
Stephen Jay-Taylor, Opera Britannia

Opera Philadelphia – Madama Butterfly

…a vocally secure and theatrically poised Sharpless.
David Patrick Steams, Philadelphia Inquirer

Florida Grand Opera – La bohème

Troy Cook is the cast’s ringleader, an animated Marcello the painter, always engaging.
Jack Zink, South Florida Sun-Sentinel

Lyric Opera of Kansas City – Les pêcheurs de perles

But the opera belonged to Cook, whose Zurga seemed like the only human being onstage. His resplendent baritone is always a pleasure, but beyond that you really believed in the complexity of his character. Most of all, his simple act of sacrifice becomes the agent of sanity in this insane but oddly rewarding piece of musical theater, and in his bracing final aria you realized that “Pearl Fishers” is really just a love triangle in which somebody had to give in for sake of friendship.
Paul Horsley, The Kansas City Star

Opera Philadelphia – La bohème

It was Troy Cook (Marcello) and Ermonela Jaho (Mimi), however, who really stole the stage. Cook’s rich inflections and Jaho’s delicate spin to each phrase reinforced Puccini’s wonderful sweeping melodies. Their voices meshed perfectly together in their duet at the beginning of act III, perhaps the highlight of the entire production.
Sydney de Lapeyrouse, Phllyist Goes to the Opera

Berkshire Opera Company – L’elisir d’amore

Baritone Troy Cook came close to stealing the show as the fatuous Sergeant Belcore, who’s as much in love with himself in uniform as he is with Adina, and he lobbed a string of high notes into the auditiorium.
Richard Dyer, The Boston Globe

Lyric Opera of Kansas City

Troy Cook as Enrico was every bit Wilson’s equal as Enrico, the manipulative brother whose remorse comes too late to save his sister. His bronze baritone was verile and controlled, his acting exceptional.
Paul Horsley, The Kansas City Star

Composer Role Opera
Bellini Riccardo I Puritani
Bizet Zurga Les pêcheurs de perles
Britten Billy Budd Billy Budd
Debussy Pelléas Pelléas et Mélisande
Donizetti Belcore L’elisir d’amore
Donizetti Enrico Lucia di Lammermoor
Gounod Valentin Faust
Lehar Danilo The Merry Widow
Leoncavallo Silvio I Pagliacci
Massenet Albert Werther
Mozart Guglielmo Così fan tutte
Mozart Il Conte Le nozze di Figaro
Poulenc Husband Les Mamelles de Tirésias
Puccini Marcello La bohème
Puccini Sharpless Madama Butterfly
Puccini Ping Turandot
Rossini Figaro Il barbiere di Siviglia
Rossini Germano La Scala di Seta
J. Strauss Eisenstein Die Fledermaus
Verdi Ford Falstaff

Troy Cook sings Mahler from Matthew Laifer on Vimeo.

“Estuans interius” from Orff’s Carmina Burana

“Why do the nations rage” from Handel’s Messiah

Lusignano’s aria from Donizetti’s Caterina Cornaro

  • Cook1
  • cook2