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Renowned American baritone Troy Cook is a native of Henry County, Kentucky, and has performed in many of the world’s greatest opera houses, including The Metropolitan Opera, Royal Opera, Covent Garden, San Francisco Opera, La Monnaie (Brussels) and Opera Bilbao.

 

Troy’s engagements during the 2022-2023 season include returns to Opera Philadelphia, reprising Marcello in La bohème in his fourth different production with the company, and Virginia Opera, for his role debut as Major General Stanley in The Pirates of Penzance. With Palm Beach Opera, he makes his company debut in one of his most-frequently performed roles, Sharpless in Madama Butterfly, and also sings Germont in La traviata with Inland Northwest Opera.

 

Mr. Cook began the 2021-2022 season with the Phoenicia Festival, making his role debut as Tonio in Pagliacci. He then debuted with Madison Opera as Enrico in Lucia di Lammermoor, returned to the Memphis Symphony Orchestra for performances of Messiah, and joined Victory Hall Opera to create the role of Tom in the anticipated world premiere of Matt Boehler’s chamber opera Fat Pig. He also bowed with Opera Colorado as Mark Torrance in The Shining, appeared at the Spoleto Festival USA in a return to one of his signature roles, Marcello in La bohème and returned to Central City Opera as Dr. Falke in Die Fledermaus.

During the 2020-2021 season, Troy Cook’s originally scheduled engagements included his role debut as Mark Torrance in The Shining with Opera Colorado (postponed), and the role of Inman in Cold Mountain with Virginia Opera (cancelled). He was also originally slated to bring his signature role of Germont in La traviata to Inland Northwest Opera (postponed) and join the Kalamazoo Symphony for Beethoven’s Ninth Symphony (cancelled). Mr. Cook was able to close the season with a return to live performances, singing Merlin in Le roi Arthus, Chausson’s only opera, with Bard Summerscape.
 

Troy created the role of Father Palmer in the world premiere of the Pulitzer Prize-winning opera Silent Night by Kevin Puts & Mark Campbell with Minnesota Opera, singing further performances of the role with Utah Opera, Austin Opera and Atlanta Opera amongst others. He created another role, John Cree, in Puts & Campbell’s Elizabeth Cree with Opera Philadelphia in 2017. Other recent operatic engagements include Sharpless in Madama Butterfly with Washington National Opera, Portland Opera and Central City Opera, Watty Watkins in Lady be Good with Teatro San Carlo Napoli, Enrico in Lucia di Lammermoor in a new Laurent Pelly production with Opera Philadelphia, Rodrigo in Don Carlo with Washington National Opera and Opera Philadelphia, Valentin in Faust at the Macau Festival, and Ford in Falstaff with San Diego Opera.

On the concert stage, he has recently performed Handel’s Messiah with the San Francisco Symphony, Indianapolis Symphony, Charlotte Symphony, and Tucson Symphony, amongst others. He bowed as the baritone soloist in Carmina Burana with the Hong Kong Philharmonic and LA Philharmonic, and sang Brahms’ Ein deutsches Requiem with the Portland Symphony.


Previous career highlights include Ford in Falstaff with the Staatsoper Hamburg, Guglielmo in Così fan tutte with the Royal Opera House, Covent Garden and Santa Fe Opera; Morales in Carmen and Schaunard in La bohème with the Metropolitan Opera; Marcello in La bohème with the Jacksonville Symphony Orchestra, Florida Grand Opera, Pittsburgh Opera, Semperoper Dresden, and Opera Philadelphia; Lescaut in Manon Lescaut with Opera Philadelphia; the Count in Le nozze di Figaro with Lyric Opera of Kansas City; Germont in La traviata with Central City Opera; Riccardo in I puritani with Boston Lyric Opera; Sharpless in Madama Butterfly with Opera Philadelphia and Berkshire Opera; Enrico in Lucia di Lammermoor with Las Palmas Opera and Lyric Opera of Kansas City; Zurga in Les pêcheurs de perles with Lyric Opera of Kansas City and Opera Carolina; Figaro in Il barbiere di Siviglia with Austin Opera, San Francisco Opera and Fort Worth Opera; Mr. Flint in Billy Budd with San Francisco Opera; Paolo in Simon Boccanegra and Albert in Werther with Kentucky Opera; and Giacomo in Beatrix Cenci with Grand Théâtre de Genève.

Victory Hall Opera – Fat Pig

C"ook, a thoughtful actor, managed to convey male weakness, singing with elegance, stylish phrasing and soft expressivity.”

- Héctor Luisi, Opera Magazine

Central City Opera- La Traviata

“The production’s other standout was Troy Cook, a veteran baritone with a pleasing, pliable voice. In a stirring debut as Giorgio Germont, he delivered a technically flawless performance as he burrowed in and conveyed the emotional core of the conflicted father. One hopes to see more of him in this role.”

- Kyle MacMillan, Opera News

Opera Philadelphia – Don Carlo

"One performance truly stands out in my mind—even in the shadow of Owens, Troy Cook’s noble portrayal of Rodrigo was a thrill to behold. It can be a thankless task, representing the loyal sidekick of a troubled Infante, but Cook was fully invested in his character, and his voice is ideal for the role. He has a beautiful, robust, woolen baritone, the sort that flows effortlessly in its middle range, and gathers energy as it climbs higher, never showing the faintest hint of a blemish. His interpretations of the two arias in his death scene could stand next to just about anyone’s—that glorious, full tone never faltered, even as he peppered his final lines with twinges of agony. To this point, Cook has appeared mostly with regional American companies, such as Kentucky, the Boston Lyric, and Opera North Carolina. It’s rarely worth speculating as to why this or that singer is not engaged at this or that house, and I won’t attempt that here. But I will say that if Cook should make an appearance in New York, I will make a point of going to hear him.”

- Eric Simpson, The New Criterion

 

“The evening’s most elegant singing came from Cook’s nobly enacted Posa, consistently well-limned and attentive to bel canto phrasing. In this part his compact baritone suits a midsize venue like the Academy of Music better than it might a huge house; but his beautifully done two-part farewell to Carlo (and life) capped the evening and roused deserved cheers.”

- David Shengold, Opera News

 

"As Rodrigo, Troy Cook was a commanding, stagewise presence, moving with grace,  and wielding an elegant light baritone."

- Eric Myers, Opera

Boston Lyric Opera – I puritani

“…Troy Cook’s Riccardo (firm yet agile of voice, neglecting none of the needed passagework, giving words full value) really approached the ideal.”

- David Shengold, Opera Magazine

 

“…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, ColoradoSprings.com

Opera Philadelphia – Manon Lescaut

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

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, Operatoday.com

 

"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

"Lusignano"Troy Cook
00:00 / 03:46
"Why Do the Nations"Troy Cook
00:00 / 02:49
"Estuans Interius", Carmina BuranaTroy Cook
00:00 / 02:27

Troy Cook

BARITONE