From: Miami, Florida. LA Opera: Pollione in Norma (2015, debut); Cavaradossi in Tosca (2017); title role in The Clemency of Titus (2019). He will return as Radames in Aida (2022).

With a “heroically shining tone of exceptional clarity and precision” (Opera Magazine) and “gorgeously burnished power” (New York Times), American tenor Russell Thomas uses his signature elegance and intensity to create vivid character portrayals on the world’s most important stages. The 2018/19 season features Mr. Thomas’s hotly anticipated stage debut in Verdi’s iconic Otello, to be seen at the Canadian Opera Company after concert performances with the Los Angeles Philharmonic and Atlanta Symphony Orchestra. He sings Manrico in Il Trovatore at the Bavarian State Opera and Lyric Opera of Chicago, makes his role debut as Roberto Devereux at San Francisco Opera, and brings his celebrated Titus in The Clemency of Titus to LA Opera. On the concert stage, he joins the World Orchestra for Peace in Beethoven’s Symphony No. 9 at the BBC Proms, and performs Mahler’s Das Lied von der Erde with the Dallas Symphony Orchestra. He closes his season by reuniting with conductor Teodor Currentzis and director Peter Sellars for a new Idomeneo at the Salzburger Festspiele.


Mr. Thomas has enjoyed a string of operatic triumphs in recent seasons, including performances as Don Carlo at Washington National Opera and Deutsche Oper Berlin; Cavaradossi in Tosca at LA Opera and with the Los Angeles Philharmonic; and Pollione in Norma at Lyric Opera of Chicago, San Francisco Opera, LA Opera, Canadian Opera Company, and Palau de les Arts Reina Sofia. He has debuted as Florestan in Fidelio at Cincinnati Opera, as Stiffelio at Oper Frankfurt, and as Turiddu in Cavalleria Rusticana at Deutsche Oper Berlin. Mr. Thomas has sung Rodolfo in La Bohème at the Metropolitan Opera, Loge in Das Rheingold with the New York Philharmonic, Adorno in Simon Boccanegra at the Royal Opera House Covent Garden, and Ismaele in Nabucco at the Metropolitan Opera and Seattle Opera. His portrayal of the title character in the new Peter Sellars production of The Clemency of Titus at the Salzburg Festival and Dutch National Opera drew praise from the The New Yorker, which noted, “Thomas’s penetrating tenor, which has lately acquired richness and heft, anchored the evening.”

Future seasons include appearances in Berlin, London, Toronto, Chicago, Houston, New York, and Washington, D.C.

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