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, rising star tenor Paul Appleby is one of the sought-after voices of his generation. A versatile artist, he is equally in demand on the world’s leading concert, recital, and opera stages.
Following a summer season that featured Paul Appleby at Glyndebourne in the title role of a new production by Laurent Pelly of Béatrice et Bénédict, the tenor’s 2016-17 opera diary includes Metropolitan Opera performances of Don Giovanni, a debut at the Dutch National Opera in Die Entführung aus dem Serail, and a debut at the Festival d’Aix-en-Provence in a new production of The Rake’s Progress conducted by Daniel Harding and directed by Simon McBurney. A robust concert calendar brings the artist together with Philippe Jordan and the orchestra and chorus of the Opéra de Paris in Berlioz’s Béatrice et Bénédict at the Palais Garnier, 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.
Last season the tenor sang Die Entführung aus dem Serail at the Metropolitan Opera conducted by James Levine and made debuts at Glyndebourne in a new production by Barrie Kosky of Händel’s Saul conducted by Ivor Bolton and at the San Francisco Opera in The Magic Flute led by Lawrence Foster. Concert performances featured collaborations with Manfred Honeck and the Pittsburgh Symphony, Gustavo Dudamel and the Los Angeles Philharmonic, and Jane Glover on the podium of the New York Philharmonic.
Profoundly committed to the art of song, the tenor made his Wigmore Hall recital debut last season accompanied by Malcolm Martineau and toured North America with pianist Ken Noda under the auspices of Carnegie Hall, Boston’s Celebrity Series, Friends of Chamber Music of Miami, and the University of Notre Dame. With Steven Blier and the New York Festival of Song, he surveyed the exquisite lyricism of Franz Schubert and The Beatles.
Recent highlights also include Metropolitan Opera performances as Tom Rakewell in The Rake’s Progress conducted by James Levine and the lead role of Brian in the North American premiere of Nico Muhly’s Two Boys conducted by David Robertson. Company debuts have included the Santa Fe Opera in Offenbach’s The Grand Duchess of Gerolstein, the Canadian Opera Company in Così fan tutte, and Washington National Opera in Mozart’s The Magic Flute.
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 a DVD of Glyndebourne’s acclaimed presentation of Händel’s Saul was released commercially by Opus Arte. Delos released Dear Theo; the first album dedicated solely to works by American composer Ben Moore features Mr. Appleby’s performance of the song cycle from which the album takes its name accompanied by Brian Zeger, as well as the bonus track, Mr. Mooore’s widely performed setting of W.B. Yeats poem, “The Lake Isle of Innisfree.”
Paul Appleby is a graduate of Metropolitan Opera’s Lindemann Young Artist Development Program and received the 2012 Leonore Annenberg Fellowship in the Performing and Visual Arts. Other awards include the 2012 Top Prize by the Gerda Lissner Foundation, 2012 Martin E. Segal Award from Lincoln Center, 2011 Richard Tucker Career Grant and George London Foundation Award, and National Winner of the 2009 Metropolitan Opera National Council Auditions. A recipient of an Artist Diploma in Opera Studies at The Juilliard School, he has also received a Master’s Degree from Juilliard and a Bachelor’s Degree in English Literature and in Music from the University of Notre Dame.