Thomas Goerz

Bass Baritone

Mr. Goerz’s numerous appearances with Pacific Opera Victoria include Belcore in The Elixir of Love, the Hermit / Samuel in the Canadian première of Der Freischütz, Sulpice in The Daughter of the Regiment, Mustafa in The Italian Girl in Algiers, Nosnibor / Hanky in the world première of Erewhon, Baptista in the Canadian première of Giannini’s The Taming of the Shrew, Raimondo in Lucia di Lammermoor, Stephano in the Canadian première of Hoiby’s The Tempest, Zuniga in Carmen, and Dr. Bartolo in The Marriage of Figaro.  He returns in 2019 for the roles of Talpa in Il tabarro and Simone in Gianni Schicchi.

Upcoming engagements include Stárek in Jenůfa with Opéra de Montréal, Elder Ott in Susannah with Manitoba Opera, and Field Marshall Haig in Estacio’s Ours at the National Arts Centre in Ottawa.

Mr. Goerz recently sang Lord Rochefort in Anna Bolena with the Canadian Opera Company and Lodovico in Otello with Vancouver Opera, and he covered the role of Orest in Elektra with the Canadian Opera Company. Other recent highlights include Owen Hart in Dead Man Walking in Montreal, Calgary, and Vancouver; Titurel in Parsifal at Quebec’s Festival Lanaudière conducted by Yannick Nézét-Séguin; Father Palmer in Silent Night for Opéra de Montréal; the Prophet in Dark Sisters with Vancouver Opera; and the world première of Lillian Alling with Vancouver Opera.

He has also undertaken cover roles with the Metropolitan opera and performed with Cincinatti Opera, Arizona Opera, Virginia Opera, Washington Opera, and Glimmerglass Opera, the Japan Philharmonic, and the Costa Rica Symphony.


Thomas Goerz … shone. He has a penetrating baritone, and he integrated his operatic skill comfortably into the utterly unheroic character of Rocco.

William Rankin, The Globe and Mail, review of Fidelio, Edmonton Opera, 2012


The evening’s surprise was Thomas Goerz as Owen Hart, one of the fathers of the murdered teenagers.  His rich, well-rounded bass-baritone radiated throughout the house and brought a wrenching pathos to the suffering of the victim’s families.

Earl Arthur Love,, review of Dead Man Walking, Opéra de Montréal, 2013

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