www.edwardparksbaritone.com

Recipient of a 2019 GRAMMY award, baritone Edward Parks has been hailed by Opera News for his “warm, velvety baritone” and the New York Times for providing “precision, sensitivity and nuance in abundance” and a “robust, earthy voice”. He was awarded third prize in Placido Domingo’s 2015 Operalia Competition and was presented in the organization’s “The Voices of 2015” concert in Hungary.

In the 2021-2022 season Mr. Parks joins Andrea Bocelli on national tour, performing in dozens of venues including New York City’s Madison Square Garden. Also in 2022, he reprises Jack Torrance in The Shining with Opera Colorado and brings his Marcello in La boheme to Detroit Opera (formerly Michigan Opera Theater). His 2019-2020 season included the cover of Joseph De Rocher in Dead Man Walking with Lyric Opera of Chicago and the Count in Le nozze di Figaro with Hawaii Opera Theatre in addition to cancelled or postponed performances of The Shining with Lyric Opera of Kansas City, and the title role in The (R)evolution of Steve Jobs with San Francisco Opera.

A graduate of the Metropolitan Opera’s Lindemann Young Artists Development Program, Mr. Parks made his Metropolitan Opera debut in the 2009-2010 season as Fiorello in Il barbiere di Siviglia and has since appeared as Schaunard in La bohème and as Larkens in La fancuilla del West, which was broadcast in HD around the world. He also appeared as Schaunard in the Met’s 2011 tour of Japan, and was slated to join the Met for their production of Billy Budd in 2021, cancelled due to COVID-19.

Mr. Parks’ 2018-2019 season included Audebert in Silent Night with Minnesota Opera, a revival of his Escamillo in Carmen with the Seiji Ozawa Matsumoto Festival in Japan, and Valentin in Faust with Opera San Antonio. In the 2017-2018 season, he was seen as Inman in Cold Mountain with North Carolina Opera, Belcore in L’elisir d’amore with Opera Oviedo in Spain, Valentin in Faust with Lyric Opera of Chicago and Portland Opera, Escamillo in Carmen with Atlanta Opera, concerts with the Marilyn Horne Foundation and the Winter Chamber Festival, and a return to the Metropolitan Opera as the Count in Le nozze di Figaro. The 2016-2017 season saw Mr. Parks as Mercutio in Roméo et Juliette with Opera de Monte Carlo on tour in Oman, the Count in Le nozze di Figaro with Lyric Opera of Kansas City, Marcello in La bohème with Minnesota Opera, Escamillo in Carmen with Nashville Opera, the cover of Figaro in Il barbiere di Siviglia with the Metropolitan Opera, and the title role in the world premiere of The (R)evolution of Steve Jobs with Santa Fe Opera, the recording of which earned him a GRAMMY award.

Other engagements include Ford in Falstaff with Des Moines Metro Opera, Mercutio in Roméo et Juliette and Valentin in Faust with Atlanta Opera, Escamillo in Carmen with PortOpera, the Count in Le nozze di Figaro with Central City Opera, Laurent in Chicago Opera Theater and Long Beach Opera’s co-production of Tobias Picker’s Thérèse Raquin, Marcello in La bohème with Virginia Opera and PORTOpera, Zurga in Les pêcheurs de perles at the Michigan Opera Theater, Sharpless in Madama Butterfly at PORTopera, Ford in Falstaff and Count Almaviva in Le nozze di Figaro with the Boston Youth Symphony Orchestra, and Count Almaviva in Le nozze di Figaro at the Opera Theatre of St. Louis.

Recent concert engagements have included Orff’s Carmina Burana with the Prague Proms International Music Festival and the Czech National Symphony Orchestra, his debut with the Atlanta Symphony Orchestra in a performance of the Duruflé Requiem, his Carnegie Hall debut in an evening of songs by Charles Ives, and Schubert’s Winterreise at both the Schubert Club in St. Paul and in Carnegie Hall’s Weill Recital Hall. He is a member of the Marilyn Horne Foundation, which has presented him in recital in New York including a recital with Susan Graham at Carnegie’s Zankel Hall.

A native of Indiana, Pennsylvania, Mr. Parks received his Bachelor of Music degree from Oberlin Conservatory and his Master of Music degree from Yale University. A National Winner of the 2008 Metropolitan Opera Laffont Competition, Mr. Parks was named a first place winner at the 2010 Gerda Lissner Foundation International Vocal Competition and has received awards from the George London Foundation, the Marilyn Horne Foundation, the Fritz and Lavinia Jensen Foundation Competition, the Irma M. Cooper Opera Columbus International Vocal Competition, the Connecticut Opera, the Palm Beach Opera Competition and the Music Academy of the West.

Minnesota Opera – Silent Night

“The most striking vocal performance came from baritone Edward Parks, as French Lt. Audebert, whose “J’ai perdu ta photo” was by far the night’s most tender moment.”

Opera News

Atlanta Opera – Carmen

Edward Parks’s high baritone and commanding presence made it easy to see why Carmen would abandon Don José for his Escamillo.”

Opera News

Lyric Opera of Chicago – Faust

Edward Parks made a welcome Lyric debut with his beautifully vocalized Valentin.”

Opera News

“Baritone Edward Parks, in his Lyric debut . . . rose with imposing force to the scene in which the dying soldier Valentin curses his fallen sister.”

John von Rhein, Chicago Tribune

“Baritone Edward Parks was outstanding in his Lyric debut as Valentin with a tremendous “Avant de quitter ces lieux” in Act two as the protector of Marguerite.”

Santosh Venkataraman, OperaWire.com

“Another new voice in this production is American baritone Edward Parks, who Lyric audiences will surely also wish to hear more of. His Valentin even manages to steal Act II from the dominantly debonair Mephistopheles with his lyrical aria “Avant de quitter ces lieux.”

Barnaby Hughes, StageAndCinema.com

“Edward Parks sang a passionate and gutsy Valentin, furious in his condemnation of Marguerite in his death scene.”

Henson Keys, Parterre Box

North Carolina Opera – Cold Mountain

Edward Parks employed his clear, warm baritone to characterize Confederate soldier Inman’s wearied despair and his determination to make it home. Parks blended beautifully with soprano Melinda Whittington’s Ada”

Roy C Dicks, The News & Observer

Santa Fe Opera – The (R)evolution of Steve Jobs

Edward Parks sang the marathon role (Jobs is in every scene) in a smooth, unflagging baritone.”

Ilana Walder-Biesanz, Bachtrack

“From my seat toward the back of the main floor, baritone Edward Parks appeared to embody a remarkable physical reincarnation of Jobs and highlighted both his arrogance and his vulnerability. Most importantly, he sang with fierce commitment and, when the man faces his mortality, poetic beauty.”

Donald Rosenberg, Classical Voice America

“At the end of the world premiere of The (R)evolution of Steve Jobs, the audience roared its approval as if it had witnessed a blockbuster musical. . . Edward Parks makes a credible Jobs, visually as well as vocally”

George Loomis, The Financial Times

“The cast was uniformly commendable for their acting as well as their singing. In the title role, baritone Edward Parks is on stage practically the whole time. He appears in roles like Figaro in The Barber of Seville and Valentin in Faust, so he is obviously able to sing in an expansive “operatic baritone” style. But he didn’t really do that here. He presented the part more intimately, as a lieder-singer might, with naturalness of style and exemplary diction.”

James M. Keller, Santa Fe New Mexican

“the adult Jobs (baritone Edward Parks, bearing a good resemblance to Jobs), takes his persona through a tour-de-force emotional journey from early promise to middle-life betrayals and cruelties, and finally to the emotional acceptance of his own death. On stage most of the time, Parks did not so much dominate as lead the ensemble. His stage bearing took on the self-contained, almost inscrutable manner of Jobs himself, far from an operatic stereotype.”

Rodney Punt, LA Opus

“The mercurial central character himself, brought elusively but expressively to life by baritone Edward Parks, holds center stage effortlessly, alternating at unpredictable intervals between gleeful young rebel and corporate tyrant, between spiritual seeker and flat-out bastard.”

Joshua Kosman, SFGate.com

Minnesota Opera – La bohème

Edward Parks played a sympathetic Marcello, singing with a commanding baritone.”

Michael Anthony, Star Tribune

“Edward Parks is a strong Marcello, agonizing when abandoned by Musette, agonizing again when they are reunited. His baritone is well suited for Marcello’s efforts to be strong and maintain his dignity when burned by love.”

Arthur Dorman, talkinbroadway.com

Nashville Opera – Carmen

Baritone Edward Parks was a delightfully smarmy Escamillo, and did justice to Carmen’s most recognizable melody. His robust voice and engaging stage presence brought welcome levity to a pretty dark show.”

Tracy Monaghan, Shmopera

“The entrance of Escamillo was a highlight in the second act. Edward Parks was a natural for the role, embodying the rugged, confident bullfighter with unabashed charm.”

ArtsNash.com

Lyric Opera of Kansas City – Le nozze di Figaro

The Count, Edward Parks, was handsome, sleazy and spoilt, his commanding voice and presence eventually eroded, his authority stripped away.”

Kansas City Star

Central City Opera – Le nozze di Figaro

The corresponding aristocratic “upstairs” couple is no less delightful. Baritone Edward Parks is an imposing presence as the morally bankrupt Count Almaviva. He sings with great authority, both in his many ensembles and his enormous Act III aria.”

Kelly Dean Hansen, Boulder Daily Camera

“Uniformly excellent performances were distinguished by two absolute gems. Baritone Edward Parks’ Count was stupendous — beautifully sung while calling just the right amount of attention to the confusion and hypocrisy of his “royal highness.””

David Sckolnik, The Gazette

Des Moines Metro Opera – Fastaff

“Handsome Edward Parks made the most of his beautiful russet-brown baritone in Ford’s Act II narrative.”

Mark Thomas Ketterson, Opera News

“The young Metropolitan Opera baritone Edward Parks, also making his DMMO debut, sang the important role of Alice Ford’s rich and jealous husband with suave assurance.”

Bruce Carr, Des Moines Register

Virginia Opera – La bohème

Edward Parks gave a persuasive portrayal as Marcello, using his robust, smoothly produced voice to telling effect at every turn.”

Tim Smith, Opera News

“Baritone Edward Parks as Marcello – Musetta’s on-again, off-again lover – was a standout as a singing actor. His copper-hued voice filled the hall masterfully. Tall and clad in suspenders and beret, Parks looked the perfect idealistic, starving artist.”

B.J. Atkinson, The Virginian-Pilot

PORTOpera – La bohème

The most compelling performance of the night was the Marcello of Edward Parks, whose warm, velvety baritone filled the house as he portrayed the frustrations of a passionate man.”

Cornelia Iredell, Opera News

Long Beach Opera – Thérèse Raquin

Baritone Ed Parks made Thérèse’s lover, Laurent, comfortable in his own brutish skin, and his singing was aptly tossed off.”

Timothy Mangan, OC Register

Chicago Opera Theater – Thérèse Raquin

“Edward Parks displayed a seductive, warmly grained baritone of excellent quality as her lover Laurent, and he looked good too; if one must have a dangerous affair, it might as well be with him.”

Mark Thomas Ketterson, Opera News

“Another thing that really nails this show is the chemistry of Mary Ann Stewart and Edward Parks as the tormented Therese and her hunky, amoral lover and co-conspirator, Laurent. . .she’s as feral and watchable a stage-animal as Parks, whose firm, robust baritone makes him a singer COT would do well to reengage.”

John von Rhein, Chicago Tribune

Marilyn Horne Foundation – The Song Continues

baritone Edward Parks proved the most polished and emotionally satisfying performer. His interpretation of selections from Schubert’s “Schwanengesang” was arresting throughout, notable for the depth and nuance with which he rendered the songs, communicating the intimacy of “Das Fischermädchen” (“The Fisher Maiden”) and the intensity of “Der Atlas.” The warmth and shadings of his voice were aptly mirrored by his excellent pianist. . .”

Vivien Schweitzer, New York Times

“The real revelation among the young singers was baritone Edward Parks, performing selections from Schubert’s Schwanengesang. The six he chose were those set to the poems of Heinrich Heine, and in them he showed a wide range of vocal character. In “Das Fischermädchen” he displayed a crisp, even tone, nimbly treading the music’s lines. “Am Meer” and “Der Atlas” showed dramatic presence and immense vocal weight. These two conveyed the enormous power in his voice, and allowed him to unleash fiery, spacious top notes. “Ihr Bild” and “Der Doppelgänger” were in another vein still, sung with devastating simplicity.”

Eric C. Simpson, New York Classical Review

Atlanta Opera – Faust

Baritone Edward Parks made a big impression in the role of Valentin, Marguerite’s brother. His deathbed curse was bloodcurdling.”

James L. Paulk, Atlanta Arts

Orlando Philharmonic – Il barbiere di Siviglia

But the show belongs to Figaro, the barber…In the role, Edward Parks has commanding stage presence, and his lusty baritone matched the glee on his expressive face.”

Matthew J. Palm, Orlando Sentinel

PORTOpera – Madama Butterfly

Parks has a beautiful baritone that is ideally suited to the role, so one hopes that there will be many more Sharplesses in his future.”

Cornelia Iredell, Opera News

Carnegie Hall – Winterreise

He provided precision, sensitivity and nuance in abundance. He potently conveyed a virile wanderer”

New York Times

Marilyn Horne Foundation – On Wings of Song

A talented young Baritone…sang with a full-blooded mellifluous voice and nuanced phrasing. (He) sang with plenty of dynamic contrast and fine control. Mr. Parks used his rich, expressive voice.”

New York Times

For more media, please visit www.edwardparksbaritone.com