COMMANDOpera first encountered Mr. Gregory Dahl whilst researching the upcoming Lucia di Lammermoor at the Vancouver Opera. Mr. Dahl will be starring in this Vancouver/San Francisco co production with the white hot tenor Mr. Michael Fabiano as Edgardo and Miss Eglise Gutiérrez as Lucia. COMMANDOpera will be in attendance at the prima of this particular performance. One could not help but be alarmed at the extremely muscular visage of this baritone which insisted advanced research be undertaken to find out more on this artist. It’s one thing to maintain an extraordinary appearance but what about the vocal instrument which is paramount to COMMANDOpera. Upon looking in on Mr. Dahl’s website , we were gifted with a video of a concert performance in which Mr. Dahl essays the air from Rigoletto; ‘Cortigiani vil razza dannata’. In 1972/1973 Miss Maria Callas gave a series of history making Master Classes at the Julliard in New York, of perhaps her most interesting work was on this particular air. The baritone at the Julliard is of no consequence, however from that moment going forward when Miss Callas laid down preciscely what was expected from this air, the rubicon was defined. For years one has searched in vain for an artist to utter these first opening declamations (which in the opinion of COMMANDOpera are rivalled in opera only by ‘Guidici ad Anna… Guidici!’) with the intent so sagely laid out by Miss Callas. At long last the words of Miss Callas have been fulfilled. COMMANDOpera presents a portion of this particular Master Class followed directly by Mr. Dahl’s acquisition of the air.
Mr. Dahl continues his rise to prominence among baritones of his generation with performances notable for richness of characterization and a remarkable vocal authority. After studying at the university of Manitoba, The Banff centre for the Arts, and the University of Toronto opera division, Mr. Dahl first came to attention of operaphiles as Francis Chancy in the World Premiere of James Rolfe’s BEATRICE CHANCY. The artist and has since been hailed in such roles as DON GIOVANNI (Edmonton Opera/Pacific Opera Victoria), Germont in LA TRAVIATA (Opera Lyra Ottawa), Sharpless in MADAMA BUTTERFLY (Vancouver Opera), Ford in FALSTAFF (Opera Lyra Ottawa), Malatesta in DON PASQUALE (Opera Ontario) and Belcore in L’ELISIR D’AMORE (Manitoba Opera). In another world premiere performance, he impressed international audiences with his creation of Charlie in Calgary Opera’s production of Estacio’s FILUMENA, a role he reprised during the 05/06 season for the Edmonton Opera. His Edmonton FILUMENA was filmed for release in the DVD format and joins BEATRICE CHANCY on his growing list of operas-on-film. Mr. Dahl’s 2009-2010 saw the artists debuts the roles of GIANNI SCHICCHI and Tonio in I PAGLIACCI with the L’Opera de Montreal.
Mr. Dahl as Jokanaan Opera Theatre St. Louis, June 2009.
The number of roles in Mr. Dahl’s repertoire continues to expand an all fronts which pleases COMMANDOpera greatly. Nick Shadow, Iago, Escamillo, Tonio, Gianni Schicci, Jokanaan, Zurga, Musiklehrer, Balaga, Rigoletto, and on and on.. COMMANDOpera asked the energetic baritone what else he was working. Oh there was more indeed, Mr. Dahl has a great fondness for the character Verdian roles within his vocal range. Interesting that an artist with matinee idol looks prefers to get his teeth into where the serious action and talent is required, but after listening to the ‘Cortigiani’ only the most difficult repertoire seemed suitable to the Canadian baritone. In the next video offering Mr. Dahl sings Scrapia’s ‘Te Deum’. Although this is a concert air, Scarpia is a role which Mr. Dahl is currently working to bring into his repertoire.
COMMANDOpera enjoyed the conversations with Mr. Dahl which went over a period of four days given the artists schedule. At the end of it all and with copious notes in hand, COMMANDOpera could not remove intellectually from the perfection of Mr. Dahl’s art. The pristine legato, agility, range, colouring, are almost to breath taking to maintain one’s composure. Mr. Dahl arrives to us with an instrument which has had time to marinate correctly: precisely the way one enjoys the baritone vocal range. After speaking with colleagues, the impressions beyond the voice were framed. Across the board his peers consider Mr. Dahl to be a great dramatic actor, complimenting his phenomenal voice. COMMANDOpera might add that while colleagues in Opera are generous, this went much further than that; they meant it. Mr. Dahl is off to London in a few days which he would not discuss, however COMMANDOpera suspects something is rather interesting in the works. This artist is on the radar of COMMANDOpera. One warrants Mr. Gregory Dahl will make for some rather interesting reading in the months to come at this venue.
Mr. Greg Dahl: The Full Package
COMMANDOpera first encountered Mr. Gregory Dahl whilst researching the upcoming Lucia di Lammermoor at the Vancouver Opera. Mr. Dahl will be starring in this Vancouver/San Francisco co production with the white hot tenor Mr. Michael Fabiano as Edgardo and Miss Eglise Gutiérrez as Lucia. COMMANDOpera will be in attendance at the prima of this particular performance. One could not help but be alarmed at the extremely muscular visage of this baritone which insisted advanced research be undertaken to find out more on this artist. It’s one thing to maintain an extraordinary appearance but what about the vocal instrument which is paramount to COMMANDOpera. Upon looking in on Mr. Dahl’s website , we were gifted with a video of a concert performance in which Mr. Dahl essays the air from Rigoletto; ‘Cortigiani vil razza dannata’. In 1972/1973 Miss Maria Callas gave a series of history making Master Classes at the Julliard in New York, of perhaps her most interesting work was on this particular air. The baritone at the Julliard is of no consequence, however from that moment going forward when Miss Callas laid down preciscely what was expected from this air, the rubicon was defined. For years one has searched in vain for an artist to utter these first opening declamations (which in the opinion of COMMANDOpera are rivalled in opera only by ‘Guidici ad Anna… Guidici!’) with the intent so sagely laid out by Miss Callas. At long last the words of Miss Callas have been fulfilled. COMMANDOpera presents a portion of this particular Master Class followed directly by Mr. Dahl’s acquisition of the air.
Mr. Dahl continues his rise to prominence among baritones of his generation with performances notable for richness of characterization and a remarkable vocal authority. After studying at the university of Manitoba, The Banff centre for the Arts, and the University of Toronto opera division, Mr. Dahl first came to attention of operaphiles as Francis Chancy in the World Premiere of James Rolfe’s BEATRICE CHANCY. The artist and has since been hailed in such roles as DON GIOVANNI (Edmonton Opera/Pacific Opera Victoria), Germont in LA TRAVIATA (Opera Lyra Ottawa), Sharpless in MADAMA BUTTERFLY (Vancouver Opera), Ford in FALSTAFF (Opera Lyra Ottawa), Malatesta in DON PASQUALE (Opera Ontario) and Belcore in L’ELISIR D’AMORE (Manitoba Opera). In another world premiere performance, he impressed international audiences with his creation of Charlie in Calgary Opera’s production of Estacio’s FILUMENA, a role he reprised during the 05/06 season for the Edmonton Opera. His Edmonton FILUMENA was filmed for release in the DVD format and joins BEATRICE CHANCY on his growing list of operas-on-film. Mr. Dahl’s 2009-2010 saw the artists debuts the roles of GIANNI SCHICCHI and Tonio in I PAGLIACCI with the L’Opera de Montreal.
Mr. Dahl as Jokanaan Opera Theatre St. Louis, June 2009.
The number of roles in Mr. Dahl’s repertoire continues to expand an all fronts which pleases COMMANDOpera greatly. Nick Shadow, Iago, Escamillo, Tonio, Gianni Schicci, Jokanaan, Zurga, Musiklehrer, Balaga, Rigoletto, and on and on.. COMMANDOpera asked the energetic baritone what else he was working. Oh there was more indeed, Mr. Dahl has a great fondness for the character Verdian roles within his vocal range. Interesting that an artist with matinee idol looks prefers to get his teeth into where the serious action and talent is required, but after listening to the ‘Cortigiani’ only the most difficult repertoire seemed suitable to the Canadian baritone. In the next video offering Mr. Dahl sings Scrapia’s ‘Te Deum’. Although this is a concert air, Scarpia is a role which Mr. Dahl is currently working to bring into his repertoire.
COMMANDOpera enjoyed the conversations with Mr. Dahl which went over a period of four days given the artists schedule. At the end of it all and with copious notes in hand, COMMANDOpera could not remove intellectually from the perfection of Mr. Dahl’s art. The pristine legato, agility, range, colouring, are almost to breath taking to maintain one’s composure. Mr. Dahl arrives to us with an instrument which has had time to marinate correctly: precisely the way one enjoys the baritone vocal range. After speaking with colleagues, the impressions beyond the voice were framed. Across the board his peers consider Mr. Dahl to be a great dramatic actor, complimenting his phenomenal voice. COMMANDOpera might add that while colleagues in Opera are generous, this went much further than that; they meant it. Mr. Dahl is off to London in a few days which he would not discuss, however COMMANDOpera suspects something is rather interesting in the works. This artist is on the radar of COMMANDOpera. One warrants Mr. Gregory Dahl will make for some rather interesting reading in the months to come at this venue.