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Malcolm Smith, bass...

b i o g r a p h y...........back to roster....up One of America’s leading basses, MALCOLM SMITH has appeared with the world’s major operatic and symphonic organizations. He has performed with such renowned companies as the Metropolitan Opera, La Scala, Deutsche Oper Berlin, Hamburg Opera Munich Opera Vienna State Opera, and the Paris Opera Bastille, among many others. He has been heard in concert repertoire with such leading orchestras as the Chicago Symphony, Los Angeles Philharmonic, Vienna Philharmonic, and the Baltimore, Montreal, and National Symphonies. In 1996, the honorary title of “Kammersaenger” was bestowed on Mr. Smith by the Opera in Düsseldorf, where he had been Principal Bass since 1971. Their production of Boris Godunov was staged for Mr. Smith, which he has since sung throughout Western Europe. He was King Henry in Lohengrin, a role he has also performed at Dresden’s Semperoper and at La Scala. He has performed countless operas with Düsseldorf, such as Tannhauser, Das Rheingold, Rosenkavalier, Siegfried, Lohengrin, Der Freischuetz, Barbiere, Parsifal, and Aida. Mr. Smith presented the role of Inquisitor in Düsseldorf Opera’s new production of Verdi’s Don Carlos, which was followed by King Mark in Wagner’s Tristan, Daland in Wagner’s Der fliegende Hollaender, Pimen in Mussorgsky’s Boris Godunov, the Grand Inquisitor in Verdi’s Don Carlos, and Sarastro in Die Zauberflöte. Recently, Mr. Smith performed Verdi Requiem with the Springfield Symphony (MA) and the role of Duc de Verone in Gounod’s Roméo et Juliette at the Spoleto Festival USA. He also sang Verdi Requiem with Helena Symphony (MT) in the Spring of 2007. In the previous seasons Mr. Smith performed Beethoven’s Symphony #9 with Portland Symphony, Berlioz’ Romeo and Juliet with Midland Symphony, the roles of Philip and the Inquisitor in Don Carlo at the Schwerin Festival in GermanyOther performances include Britten’s Noyes Fludde with Grand Rapids Opera and Arkel in Debussy’s Pelleas et Melisande with the Cincinnati Opera He sang in Britten’s Peter Grimes with Barcelona’s Gran Teatro del Liceu and the Teatro Real Madrid and in Gounod’s Romeo et Juliette with Hawaii Opera. Mr. Smith appeared in Beethoven’s Fidelio with Maazel and the Pittsburgh Symphony at Carnegie Hall and at the Bregenz Festival. In Brussels in the Teatro de la Monnaie’s production of Peter Grimes, With Teatro Regio di Turino, Italy. Mr. Smith presented Strauss’ Arabella and Der Rosenkavalier, Wagner’s The Flying Dutchman, Rossini’s Barber of Seville, and Das Rheingold. Mr. Smith recorded Liszt’s Grande Messe and Stravinsky’s Oedipus Rex with the French Radio Orchestra in Paris. He appeared in the World Premiere of Penderecki’s The Black Mask at the Salzburg Festival. He sang Fafner in Das Rheingold with Solti and Chicago Symphony both in Chicago and in New York. Beethoven’s Symphony No. 9 he performed with Fort Wayne Philharmonic, Bach’s St. John Passion with Youngstown Symphony Orchestra, and Mozart’s Requiem with the San Antonio Symphony. Malcolm Smith made his European debut at the Spoleto Festival in Tristan und Isolde and his Metropolitan Opera debut in 1975 in La Gioconda. He toured Japan with the Metropolitan Opera and appeared in the world premiere of Robert Ward’s Abelard and Heloise at the Charlotte Opera. Malcolm Smith made his New York City Opera debut in Prokofiev’s Flaming Angel, which he also performed at the Opera Bastille in Paris. Subsequent performances and recordings of Handel’s Samson and Mahler’s Symphony No. 8 firmly established him on the American scene as an artist fluent in both opera and oratorio repertoire. A native New Yorker, Mr. Smith holds degrees from the Oberlin College Conservatory of Music and Columbia University, has studied at Indiana University, and is currently listed in Who’s Who in America. b i o....r e v i e w s back to roster...up . . . .

r e v i e w s...........back to roster....up “Malcolm Smith was a rich-voiced Friar.” - Jim Becker, Opera News “As Daland, Senta’s father, bass Malcolm Smith was impressive, projecting clearly and with perfect touches of humor.” - Janelle Gelfand, Cincinnati Enquirer “. . . but Rocco the jailor, sung to perfection by Malcolm Smith, is the most interesting character in the opera.” “Smith’s rich, cheerful bass voice and grandfatherly demeanor added ambiguity to his foul behavior.” - Pierre Ruie, The Sun “One of the evening’s happiest surprised was the presence of a truly outstanding bass, Malcolm Smith, as the jailor Rocco, a role with a mixture of serious and comic elements. Rocco is often sung by a basso buffo who is more buffo than basso. Smith not only brought a glorious bass voice to the role, but also an acting skill that showed Rocco’s tragi-comic complexity. - Wash./Couer d’Alene, Idaho “Smith commanded the role of the lecherous Baron with confidence.” - Janelle Gelfand, The Cincinnati Enquirer “Smith’s Ochs oozed offence as self-styled lover, eager philanderer and arrogant boor. He gets one of the ‘big tunes’ too, the famous waltz ending Act II.” - Mary Ellyn Hutton, The Cincinnati Post “Malcolm Smith sang the ruined Duke with vocal dignity. . .” “The role of the father Titurel was sung by Malcolm Smith with a powerful bass and beautiful singing line.” - Orpheus “. . . The Jubilee Concert on Sunday caught quite a star with the bass Malcolm Smith.” - Andreas Anglet, Rheinische Post “. . . Malcolm Smith as the bass soloist was excellent.” - West Deutsche Zeitung “. . . Malcolm Smith showed the complete range of his ability by clarifying the emotional content not only with shades of vocal power but also with mime and gestures.” - Tim Heise, Rheinische Post “. . . the scene with Sparafucile the swindler was very powerful. Malcolm Smith completely embodied the strong personality Verdi envisioned. . .” - West Deutsche Zeitung “. . . the slow rise in tension between deep feeling and spite, and contempt and care, suddenly broke loose when the murderer Sparafucile (Malcolm Smith) and Rigoletto met. . .” - Rhinische Post “. . . was paired with bass Malcolm Smith, who sang the dramatically important role of Christus. Powerful as a singer but possessing taste, Smith brought a vibrant operatic presence to the part that nevertheless was extremely effective.” - Kenneth DeLong, Calcary Herald b i o....r e v i e w s back to roster...up . . . .