Hailed by The New York Times as “a bass with an attitude and the goods to back it up,” Matt Boehler has been critically acclaimed both for his dramatic skill and his vocal ability. With Wolf Trap Opera Company, Mr. Boehler garnered much praise in the title role of Sweeney Todd, causing The Washington Post to proclaim, “He is, quite simply, a marvel.”
The current season features two opera and company premieres for Mr. Boehler: the role of Uncle in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree with Opera Philadelphia, and the role of the Director in the American premiere of Michael Gordon and Deborah Artman’s Acquanetta with the Prototype Festival in NYC. It includes returns to Minnesota Opera for Bartolo in The Marriage of Figaro and Sparafucile in Rigoletto, as well as Madison Opera for Osmin in The Abduction from the Seraglio. In concert, he can be heard in Mozart’s Requiem at the National Cathedral and with the Sacramento Choral Society.
The most recent seasons have displayed Boehler’s versatility in a great array of repertoire, from Sarastro in Die Zauberflöte with Canadian Opera Company to Il Cieco in Iris with Bard Summerscape and Mr. Mister in The Cradle Will Rock with Opera Saratoga. He debuted with Dallas Opera as the Donkey in the world premiere of Mark Adamo’s Becoming Santa Claus, and he made his role debut as Baron Ochs in Der Rosenkavalier with Victory Hall Opera, where he is an ensemble member. In concert, his performance of Rautavaara’s Vigilia at St. John the Divine in New York City was singled out by Opera News as “masterful,” and his performance in Handel’s Messiah with Musica Sacra was lauded as one that “commanded attention” by The New York Times.
Boehler’s calendar over the last years has included engagements at some of classical music’s most prestigious venues. He has sung at The Metropolitan Opera in both Iolanta and The Nose, Théâtre Royal de La Monnaie in Daphne, and Canadian Opera Company in Roberto Devereux. He has been heard with the New York Philharmonic in Elektra, the Baltimore Symphony Orchestra in Bernstein’s Mass and with Spoleto Festival U.S.A. in Glass’ Kepler.
Mr. Boehler was an ensemble member at Theater St. Gallen in Switzerland for two years, essaying staples of the bass repertoire like Leporello in Don Giovanni and Daland in Der fliegende Holländer, while embracing rarities such as Baldassare in Donizetti’s La favorita and Catalani’s La Wally. He has been met with acclaim as Méphistophélès with Michigan Opera Theater and as Osmin with Des Moines Metro Opera, as well as the Hotel Manager in Thomas Ades’ Powder Her Face with New York City Opera and Festival Opéra de Quèbec. His career includes appearances with Minnesota Opera, Opera Theater of Saint Louis, Chicago Opera Theater, Opera Lyra Ottawa, Central City Opera, Florentine Opera, Hawaii Opera Theatre, Opera New Jersey, and Festival Lyrique-en-mer. In concert, he has been heard with the American Symphony Orchestra, Orpheus Chamber Orchestra, Minnesota Orchestra, Jacksonville Symphony, Portland Baroque Orchestra, and Oratorio Society of New York. In recital, he has been seen in several critically acclaimed performances with the New York Festival of Song and he has concertized at the Spoleto Festival USA and with the Lotte Lehmann Foundation.
Mr. Boehler is also a frequent collaborator within the world of contemporary music. In addition to the work of recent seasons, he has participated in premieres of the work of John Musto, William Bolcom and Michael Dellaira. His discography reflects his enthusiasm for new music, and including recordings of these works. He trained as an actor (B.A.) at Viterbo College, an opera singer (A.D.) at Juilliard, and as a composer (M.M.) at the San Francisco Conservatory of Music. www.mattboehler.com