Mr. Appleby was in spectacular form as Tom. Floppy-limbed and animated by idle nervous energy he was every inch the “shuttle-headed lad” described in the libretto. His roomy, relaxed tenor was a course of unalloyed pleasure, especially in crescendos in which it bloomed without any hint of strain or steel. If this performance is any indication, his turn next season as Belmont in Mozart’s “The Abduction from the Seraglio” will be one to watch.
The New York Times, Corinna da Fonseca-Wollheim
Paul Appleby has all the components of an accomplished recitalist. His tenor is limpid and focussed, but with a range of color unusual in an instrument so essentially lyric: it’s a sound that can give pleasure over a recital’s two-hour span. His singing is scrupulous and musical; the voice moves fluidly and accurately…Appleby is a singer with a full-throttle commitment to the song repertoire.
Opera News, Fred Cohn
Admired for his interpretive depth, vocal strength, and range of expressivity, tenor Paul Appleby is one of the most sought-after voices of his generation. A versatile artist, he is equally in demand on the world’s leading concert, recital, and opera stages.
The tenor’s dedication to performing in the great concert halls of the world yields collaborations in the months ahead with his frequent partner, Manfred Honeck, in performances of Berlioz’s Te Deumwith the Pittsburgh Symphony and a debut at the Ravinia Festival with Marin Alsop leading the Chicago Symphony Orchestra in Beethoven’s Ninth Symphony. He makes an Edinburgh International Festival debut in Handel’s Samsonwith the Dunedin Consort under the baton of John Butt and Bernstein’s Songfestis given both at Carnegie Hall with Marin Alsop leading the Juilliard Symphony Orchestra and at the Glasgow Royal Concert Hall with Thomas Dausgaard on the podium of the BBC Scottish Symphony Orchestra. Paul Appleby presents solo recitals at The Wigmore Hall and on Carnegie Hall’s Zankel Hall stage and operatic performances feature prominently in the second half of the 2018-19 season with the title role of Pelléas et Mélisandeboth at the Metropolitan Opera conducted by Yannick Nézet-Séguin and at Dutch National Opera conducted by Daniele Gatti, John Adams and Peter Sellars’ Girls of the Golden Westat Dutch National Opera led by Grant Gershon, Don Giovanniat the Metropolitan Opera with Cornelius Meister on the podium, and a debut at the Gran Teatre del Liceu in the title role of Candideconducted by John DeMain.Read More
Paul Appleby made his Festival d’Aix-en-Provence debut in summer 2017 in a new production of Stravinsky’s The Rake’s Progressdirected by Simon McBurney and created the role of Joe Cannon in the world premiere of John Adams and Peter Sellars’ Girls of the Golden Westat San Francisco Opera. Later in 2017-18, Paul Appleby returned to Dutch National Opera revisiting McBurney’s production of The Rake’s Progressin its Dutch premiere conducted by Ivor Bolton.
A robust concert calendar in recent seasons has brought the tenor together with Philippe Jordan and the orchestra and chorus of the Opéra de Paris in Berlioz’s Béatrice et Bénédictat the Palais Garnier, with Gustavo Dudamel and the Los Angeles Philharmonic in concert performances of Die Zauberflöteand Mozart’s seldom heard Laut verkunde unsre, with David Zinman and the Bamberger Symphoniker for Elgar’s The Dream of Gerontius, and with Jeffrey Kahane and the Los Angeles Chamber Orchestra for Beethoven’s Ninth Symphony.
Operatic highlights of the recent past include new productions at Glyndebourne by Barrie Kosky of Handel’s Saulconducted by Ivor Bolton and by Laurent Pelly of Béatrice et Bénédictconducted by Antonello Manacorda, The Magic Fluteat San Francisco Opera led by Lawrence Foster and at Washington National Opera conducted by Philippe Auguin, Offenbach’s The Grand Duchess of Gerolsteinat the Santa Fe Opera, and a new production of The Rake’s Progressdirected by Axel Weidauerat Oper Frankfurt. Paul Appleby’s extensive performance history with the Metropolitan Opera includes The Rake’s Progress, Belmonte in Die Entführung aus dem Serail, and David in Die Meistersinger von Nürnbergat the Metropolitan Opera, all conducted by James Levine, and the lead role of Brian in the North American premiere of Nico Muhly’s Two Boysunder the baton of David Robertson.
Profoundly committed to the art of song, the tenor made his Wigmore Hall recital debut in 2016 accompanied by Malcolm Martineau and has toured North America extensively with pianists Natalia Katyukova and Ken Noda.
Mr. Appleby’s discography includes projects for Delos, Virgin Classics, Opus Arte, EMI’s Juilliard Sessions, and Nonesuch. Nico Muhly’s opera, Two Boys, released by Nonesuch, was recorded live by the Metropolitan Opera, and DVD’s of Glyndebourne’s acclaimed presentation of Handel’s Saul (2015) and Berlioz’s Béatrice et Bénédict(2016)were released commercially by Opus Arte. Delos released Dear Theo; the first album dedicated solely to works by American composer Ben Moore, featuring the song cycle from which the album takes its name accompanied by Brian Zeger, as well as the bonus track, Mr. Moore’s widely performed setting of W.B. Yeats poem, “The Lake Isle of Innisfree.”
Paul Appleby is a founding core member of the American Modern Opera Company (AMOC) and a graduate of Metropolitan Opera’s Lindemann Young Artist Development Program. A recipient of an Artist Diploma in Opera Studies at The Juilliard School, he also has received a Master’s Degree from Juilliard and a Bachelor’s Degree in English Literature and in Music from the University of Notre Dame.