Adam Luther

Tenor

Canadian tenor Adam Luther made his Pacific Opera Victoria debut in 2011 as Anatol in Samuel Barber’s Vanessa. The 2014/15 season saw his return for the roles of Froh in Wagner’s Das Rheingold and Pinkerton in Puccini’s Madama Butterfly. He was Cassio in Pacific Opera’s 2015 production of Verdi’s Otello; Tamino in The Magic Flute (2017), and Tassilo in Kálmán’s Countess Maritza in 2019. Adam returns for two roles in Pacific Opera’s 2019 company première of Puccini’s Il trittico – Luigi in Il tabarro and Gherardo in Gianni Schicchi.

Recent engagements for the Newfoundland native include the title role in Gounod’s Roméo et Juliette with Calgary Opera and an Opera Gala for the Niagara Symphony; Alfredo in La traviata for Manitoba Opera and Lensky in Eugene Onegin with Calgary Opera. A favourite with ‘Salute to Vienna’ audiences in the US and Canada, Mr. Luther appeared in Beethoven’s Symphony No. 9 with the Kitchener-Waterloo and Edmonton Symphonies.

Other recent highlights include Rodolfo in La bohème for Minnesota Opera, Pinkerton with Vancouver Opera, Michigan Opera Theater and Saskatoon Opera; Tamino with Calgary Opera and Edmonton Opera; as well as concert engagements with Chorus Niagara, the Edmonton Symphony, Kitchener Waterloo Symphony Orchestra, Symphony Nova Scotia, FestiVoix de Trois-Rivières, the Ottawa Choral Society, Toronto’s Opera in Concert, Newfoundland Symphony Orchestra,  the Brott Summer Festival, the Sacramento Symphony, and Johnstown Symphony Orchestra in Pennsylvania.

Adam is an alumnus of the Canadian Opera Company Ensemble Studio and received his Bachelor of Music degree from Wilfrid Laurier University, as well as a Diploma in Opera from both Wilfrid Laurier University and the University of Toronto.

 

Adam Luther made a worthy Pinkerton. That is to say, he eschewed the portrayal of a complete cad, making him a confident young man, genuinely enchanted by his exotic Japanese house and his exotic child bride, worldly enough to know it won’t last. but, ultimately, man enough to understand and feel the tragedy he has caused. Vocally too, he held his own. Facile in his salute to Japan’s shifting property and marriage laws, “Amore o grillo”, in the long duet which closes the first act, Han and Luther captured the music’s soul-searching magic with tender beauty. His final aria “Addio fiorito asil” delivered genuine, tragic remorse.

Elizabeth Paterson, Review Vancouver, Review of Madama Butterfly, Pacific Opera Victoria, 2015

 

Luther … possesses magnetic stage power, as dashing as a matinée idol unafraid to dig into his role — a passionate hothead in love with Violetta…. Luther … displayed buttery-smooth phrasing in the first act’s Un dì, felice, eterea sung with Blue including ringing high notes …. his subdued vocals mirrored the dying Violetta’s faltering utterances, viscerally bonding their characters as organically simpatico lovers.

Holly Harris, Winnipeg Free Press, review of La traviata, Manitoba Opera, 2018

 

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