tenor

Charles Blandy has been praised as “unfailingly, tirelessly lyrical” (The Boston Globe), “a versatile tenor with agility, endless breath, and vigorous high notes" (Goldberg Early Music Magazine), and for his “clear, focused, gorgeous tenor voice” (Worcester Telegram and Gazette).

In concert he has recently performed with the Portland Baroque Orchestra, the American Bach Soloists (SF, CA), and with the National Chorale at Lincoln Center. He has performed as the Evangelist in Bach’s St. John and St. Matthew Passions with Emmanuel Music, as the title character in Britten’s St. Nicolas under Raymond Leppard in Indianapolis, and has sung with the Bethlehem Bach Festival, Handel and Haydn Society, Boston Baroque, Charlotte Symphony, Cantata Singers, Berkshire Choral Festival, Pittsburgh Bach and Baroque, and the Bloomington Early Music Festival. He was a finalist in the Oratorio Society of New York solo competition.

He was recently heard in John Harbison’s The Great Gatsby, in Boston and at Tanglewood, in Boston Early Music Festival’s Orfeo (Monteverdi), and with Emmanuel Music in Boston he has appeared as the title character in Stravinsky’s The Rake’s Progress, Tamino in Mozart’s Magic Flute, and Lurcanio in Handel’s Ariodante. He was Almaviva in Boston Lyric Opera’s family performances of The Barber of Seville, Opera News and The Boston Globe praised his performances as Francis Flute in Britten’s Midsummer Night’s Dream, and at Tanglewood and in Los Angeles he appeared in the world premiere of Osvaldo Golijov’s Ainadamar, starring Dawn Upshaw.

In the field of contemporary music, he premiered Rodney Lister’s chamber song cycle Friendly Fire with Collage New Music, appeared with the Boston Modern Orchestra Project in the debut of John Austin’s opera Heloise and Abelard, and is on a critically-praised Naxos CD of Scott Wheeler’s opera The Construction of Boston. He gave the US premiere of Rautavaara’s song cycle Die Liebenden with Chameleon Arts Ensemble, a performance The Boston Globe called “marvelous.” On short notice he appeared in Berio’s Sinfonia under conductor Robert Spano at Tanglewood. 

He recently gave a recital of Janáček’s Diary of One Who Disappeared at Monadnock Music (NH); an earlier performance was profiled in the Boston Globe. His evening of songs by Rachmaninoff, Liszt, and Szymanowski was called “one of the most engrossing concerts in ages” by The Arts Fuse. He sang a recital in New York, Boston, London, and Manchester (UK) of songs by American composers, new and old, with Rodney Lister at the piano. His studies have been at Tanglewood, where he was awarded the Grace B. Jackson prize for excellence; at Indiana University, where he earned his Master's degree, and at the Britten-Pears School in Aldeburgh, England. He is a native of Troy, NY, and graduated from Oberlin College with a BA in religion.

Performances

Jordan Hall at New England Conservatory | November 16, 2013
Distler Performance Hall at Tufts University | September 25, 2009

News and Press

[Concert Review] Kicking off a vocal fest at Tufts

The conductor Gil Rose, after curating last year’s Ditson Festival of Contemporary Music, is admirably keeping alive the vision of a local new-music festival in late September. This year’s iteration, entitled “Voice of America,” is underway at Tufts University’s Granoff Music Center. It does not have the Ditson Fund’s generous backing so it paints on a necessarily smaller canvas, but last night’s opening performances made clear that it should be a richly rewarding weekend of American vocal music.

The Boston Globe Full review
[Concert Review] Florestan and BMOP join forces to celebrate American vocal repertoire

This evening’s double concert in the Distler Performance Hall of Tufts’ Granoff Music Center began a 3-day festival involving a partnership between the Florestan Recital Project and the Boston Modern Orchestra Project to highlight American vocal music. The former’s presentation was the 1st of 3 concerts which together would span the entire vocal opus of Samuel Barber, aptly titled, “BarberFest,” while the latter highlights contemporary compositions for vocalist(s) and chamber orchestra.

Classical Voice of New England Full review