baritone

Acclaimed for his “exemplary diction and rich baritone voice” (Boston Phoenix), Aaron Engebreth enjoys an active solo career in opera, oratorio and recital. and has devoted considerable energy and time to the performance of new music, often collaborating with many of today’s foremost composers. He has been featured as a concert soloist in performances from Sapporo Japan's Kitara Hall and Boston's Symphony Hall, to Le Théâtre de la Ville in Paris and the AmBul festival of Sofia, Bulgaria. He gave his debut at Washington's Kennedy Center as soloist in Faure's Requiem and Carlyle Sharpe's Proud Music of the Storm. He has been a guest of the Tanglewood, Ravinia, Rockport and Monadnock Music Festivals as well as many symphony orchestas, among them Portland, Virginia, San Diego and Charlotte. His 2013/14 season performances include concerts and recordings with the Boston Modern Orchestra Project, Boston’s Radius Ensemble, Vancouver International Song Institute, St. Louis Art Museum, the Schubert Club of Minnesota, the Firebird Ensemble and his Carnegie Hall debut in Vaughan Williams’s Dona Nobis Pacem. He will also perform solo recitals at Minneapolis's Antonello Hall and the University of Wisconsin. Mr. Engebreth works closely with both established and young composers. As a student, his work with the composer Lukas Foss fostered a passion for premiering new worksand he has since collaborated with composers John Harbison, Libby Larsen, Thea Musgrave, Ned Rorem, Daniel Pinkham, Lee Hyla, Jon Deak and many others, and often has the privilege of working with young composers on their vocal works.

Mr. Engebreth has been recognized for his interpretation of early music and is a frequent soloist with many of the country’s finest early-music organizations including the American Bach Soloists, Handel and Haydn Society, Miami Bach Society, Boston Baroque, Boston Camerata, Santa Fe Pro Musica, and Musicians of the Old Post Road. Mr. Engebreth was a regular soloist and core member of Emmanuel Music from 2002-2008, joining a thirty-five year tradition of weekly performances of Bach’s sacred cantatas under the direction of the late Craig Smith. He considers this experience a highlight of his musical life thus far. As a recording artist, he is featured on two operatic recordings with the Boston Early Music Festival and Radio Bremen, both nominated for Grammy Awards for Best Operatic Recording: the 2007 release of Lully's Thésée (also nominated for a 2008 Gramophone Award), and the 2008 release of Lully's Psyché. He has recorded the world premiere release of Six Early Songs of Samuel Barber, and Libby Larsen’s The Peculiar Case of Dr. H. H. Holmes, both for Florestan Records. He is featured in recordings of John Deak's The Passion of Scrooge with the Firebird Chamber Ensemble, John Harbison’s Winter’s Tale and Lukas Foss's oratorio The Prairie with the Boston Modern Orchestra Project (BMOP) and Providence Singers, and he created the role of Jack Matthews in the premier recording of Eric Sawyer's opera Our American Cousin, again with BMOP. In addition, he can be heard as the Policeman in Lukas Foss's opera Griffelkin on Chandos records, and as a soloist in Conrad Susa's Carols and Lullabies on the Arsis Label. He began a multi-disc project in 2009 recording The Complete Songs of Daniel Pinkham with the Florestan Recital Project on Florestan Records, the first volume of which was named one of the five best contemporary music releases of the year by NPR and American Public Media. While on the music faculty of Tufts University, he was twice awarded faculty development grants to study music of the French baroque in Paris. Aaron has also served on the music faculty of the Boston Conservatory and is Artistic Co-Director of the Florestan Recital Project.

Performances

Jordan Hall at New England Conservatory | November 16, 2013
Distler Performance Hall at Tufts University | September 27, 2009
Distler Performance Hall at Tufts University | September 27, 2009
Distler Performance Hall at Tufts University | September 26, 2009
Jordan Hall at New England Conservatory | March 20, 2009
Buckley Recital Hall at Amherst College | March 31, 2007
Ozawa Hall at Tangelwood | July 25, 2002
Jordan Hall at New England Conservatory | March 29, 2002

News and Press

[Concert Review] Florestan, BMOP offer sublime tribute to vocal music

The Boston Modern Orchestra Project had a good idea last weekend. They paired with the Florestan Project, a superb vocal group, to present three days of concerts named “Voice of America” at Tufts University’s Distler Performance Hall. Florestan presented the complete songs of Samuel Barber, some 75 in number. The Sunday afternoon concert I attended then featured a chamber-music-sized BMOP with concerted songs of Samuel Barber and Virgil Thomson. Florestan and BMOP together offered a sublime tribute to the voice.

The Boston Musical Intelligencer Full review
[Concert Review] Big themes, big performances boost "Our American Cousin"

NORTHAMPTON - It is rare to encounter an opera premiere outside the big cities or big festivals but Amherst composer Eric Sawyer and Berkeley poet John Shoptaw have done the almost-impossible. They raised $100,000 (from foundations and generous individuals), enlisted the talent (some of it from Opera Boston), and produced their new opera, Our American Cousin, on Friday at the Academy of Music in this town. This was its first fully staged performance. The Boston Modern Orchestra Project was in the pit, led by Gil Rose.

The Boston Globe Full review
[News Coverage] American tragedy receives a lyrical touch

President Abraham Lincoln’s assassination and the surrounding events are seen through the prism of musical drama in the world premiere of Our American Cousin, a new opera by Amherst College composer Eric Sawyer and librettist John Shoptaw.

The Republican Full review
[CD Review] BMOP's recording of Foss's Griffelkin receives perfect score

Artistic Quality: 10 Sound Quality: 10

Lukas Foss composed Griffelkin for the NBC television network, which broadcast the opera on November 6, 1955. Although Griffelkin is based on a children’s fable, Foss wanted it to appeal to listeners ages “8 to 80,” so he wrote in a very accessible though not simplistic musical style—and the story has enough of a mature subtext to interest adults as well as children (as all good “children’s” music must).

ClassicsToday Full review