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Dominic Armstrong has established himself internationally as an artist of superb and distinguished musicality and characterization. The tenor holds degrees from Truman State UniversityThe Juilliard School, and The Curtis Institute.


The 2022-2023 season sees Mr. Armstrong make his debut with Utah Opera, singing the Steuemann in Der fliegende Holländer; continue his relationship with Opera Carolina, returning to the role of Alfredo in La traviata; and return to the Bangor Symphony for a rescheduled Beethoven’s 9th.

An in-demand interpreter of modern and contemporary operas, Mr. Armstrong’s notable performances include Peter Quint in Turn of the Screw (NYCO, Castleton, OnSite Opera), Arthur Dimmesdale in The Scarlet Letter (Opera Colorado, world premiere), Orville Wright in Finding Wright (Dayton Opera, world premiere),  Jump Master in The Falling and the Rising (Opera Carolina), Dr. Richardson in Breaking the Waves (Beth Morrison Projects), Steve in A Streetcar Named Desire (Lyric Opera of Chicago, Carnegie Hall), Count Almaviva in The Ghosts of Versailles (Wexford Festival), Haydn and the Bartender in the world premiere performances of The Classical Style (Ojai Festival, Cal Performances, and Carnegie Hall), and Candide (Wolf Trap).

The tenor is equally at home in traditional opera repertoire, having essayed such roles as Don José in Carmen (Kentucky Opera, Dayton Opera), Cavaradossi in Tosca (on tour in France under the baton of Emmanuel Plasson, Northwest Indiana Symphony), Alfredo in La traviata (Chautauqua Opera), Macduff in Macbeth (Syracuse Opera), Tamino in Die Zauberflöte (Dayton Opera) and the title role in La Clemenza di Tito (Chicago Opera Theatre).

Mr. Armstrong made his New York Philharmonic debut in acclaimed performances of Britten’s Spring Symphony, conducted by Music Director Alan Gilbert. He has appeared as 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, and Second Jew with the Detroit Symphony Orchestra. In the 16/17 season, he traveled to Russia to perform Britten’s War Requiem with the Russian National Orchestra and subsequently performed in a series of concerts, collaborating with Craig Rutenberg. He is closely tied to the works of Benjamin Britten, having also performed his Serenade with Symphony in C and the Princeton Symphony.

He regularly performs standard symphonic repertoire, such as Beethoven’s Ninth Symphony (Indianapolis Symphony, North Carolina Symphony, Baton Rouge Symphony), Handel’s Messiah (Aiken Symphony), Mozart’s Requiem (Lansing Symphony, Amarillo Symphony), Bach’s Magnificat (Milwaukee Symphony), and Rachmaninoff’s The Bells (Portland Symphony).


Other notable recent performances include: 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; Opera Omaha for their inaugural ONE festival as Lurcanio in Ariodante, 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; and in spring 2020 he was slated to make his debut with Lincoln Center Theater in the ensemble for Intimate Apparel, with the run of preview performances interrupted due to COVID-19.

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.

Brooklyn Art Song Society – Diary of One Who Disappeared

"Dominic Armstrong gave an extraordinary performance, both vocally and dramatically, as the  young man. he showed utter mastery of the may and difficult challenges of this music, capturing its shifting moods expressively and showing equal power in the music’s tender and stentorian passages. His was truly a classic, memorable performance on all levels.”

- Arlo McKinnon, Opera News

Los Angeles Opera – Scare Pair

"Displaying a strong tenor, Dominic Armstrong looked uncannily like Poe in “Usher”…”

- Richard S. Ginell, Los Angeles Times

"Portrayed by Dominic Armstrong, Poe, the character, is a high lyric tenor who sings with flowing vocal colors but shows increasing discomfort as he interacts with Roderick Usher…the voices of the two men surrounded the audience with an ocean of sound in The Broad Stage’s five hundred-seat house. Getty writes extremely well for male voices and his lead singers did him proud.”

- Maria Nockin, Broadway World

Curtis on Tour – Celebrating Bernstein

“The addition of tenor Dominic Armstrong (another Curtis alumnus) allowed the program to dip into Bernstein’s vast catalog of art songs, arias and show tunes. Armstrong had a lovely, rounded tone, capable of heart-melting pianissimos in his high register as well as bright, full-bodied notes. His diction was clear — a must for Bernstein — and he captured the emotions of each selection.”

- Christian Hertzog, The San Diego Union-Tribune

Hudson Hall – The Mother of Us All

"For both clarity and presence, standouts were bass-baritone Robert Osborne as Daniel Webster and tenor Dominic Armstrong as Jo the Loiterer.”

- Joseph Dalton, The Times Union

"There is a luscious-voiced tenor, Dominic Armstrong, as Jo the Loiterer. Armstrong’s Jo is a multi-faceted, funny, uncommon common man. The actor is so much more than Jo on the page.”

- Marion Hunter, The Columbia Paper

“Armstrong sang–and articulated–gorgeously, creating Jo vividly.”

David Shengold, Opera News

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.”

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.”


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.” 


"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.”

- The Washington Post

"Tenor Dominic Armstrong was powerful but affecting as the confused Candide.” 

- The WashingtonTimes

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.”

"Dominic Armstrong’s Tito belted his excellent tenor with ablomb and emotional range.” 


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Dominic Armstrong