PHILIP HORST

Bass Baritone

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“In the lead role, Phillip Horst’s dark-timbred bass-baritone convincingly expressed Wozzek’s accumulating mental stress from desperation to uncontrollable madness.” Wozzeck, New Israeli Opera; The Jerusalem Post

Biography

Hailed by Opera News for a “theatrical intensity [that] was harmonized by sheer vocal beauty” in his first performances of Orest in Elektra, Philip Horst returns to San Francisco Opera as Redburn in Billy Budd, makes his debut at Ópera de Bellas Artes, Mexico City as the Villains in Les contes d’Hoffmann, and also returns to the Lyric Opera of Chicago for their productions of Die Walküre and Siegfried in the 2019/20 season. Last season he joined San Francisco Opera as the Game Keeper in Rusalka, in addition to joining them for their productions of Tosca and Arabella. He also returned to the Lyric Opera of Chicago for the Tutor, while also being responsible for Orest, in Elektra, and to the Metropolitan Opera for their productions of Das Rheingold and Die Walküre. He recently joined both the Metropolitan Opera and the Lyric Opera of Chicago as Capulet in Roméo et Juliette, the Lyric Opera of Chicago as Panthée in Les Troyens and for Das Rheingold, the Orlando Philharmonic for Dulcamara in L’elisir d’amore, and San Francisco Opera for Kothner in Die Meistersinger von Nürnberg, while also being responsible for Hans Sachs.


Recent performances include the title role of Wozzeck with New Israeli Opera, Simone in Zemlinsky’s Eine florentinische Tragödie with Greek National Opera, Pizarro in Fidelio with English National Opera, the Gamekeeper in Rusalka with the Lyric Opera of Chicago, Tomsky in Pique Dame with the Komische Oper Berlin, Mandryka in Arabella with Theater St. Gallen and Oper Frankfurt, Scarpia in Tosca with Seattle Opera and Opera Grand Rapids; Lieutenant Horstmayer in the European premiere of Putz’s Silent Night at the Wexford Opera Festival; and various roles in The Nose at the Festival d’Aix-en-Provence as well as with Opéra de Lyon. He has sung Leporello in Don Giovanni and Maestro in Salieri’s Prima la musica, poi le parole with Opera Fuoco under the baton of David Stern. He made his Metropolitan Opera debut as the Fourth Gambler in The Gambler and has returned for Ostasio in Francesca da Rimini and previous performances of roles in The Nose as well as for the company’s productions of Die Frau ohne Schatten, La traviata, Roméo et Juliette, Das Rheingold, and Capriccio. He joined Washington National Opera as the Doctor in the American Premiere of Sophie’s Choice, and sang Telramund in concerts featuring excerpts of Lohengrin at the Bard Music Festival. Elsewhere in America, he has sung Leporello in Don Giovanni and Panthée in Les Troyens with San Francisco Opera and Las Vegas Opera and has joined the roster of Teatro alla Scala for the same opera, Orest in Elektra with Des Moines Metro Opera, Bonze in Madama Butterfly with the Lyric Opera of Kansas City, Ulysses S. Grant in The Mother of Us All at New York City Opera, Grech in Fedora with Palm Beach Opera, Ferrando in Il trovatore with Dayton Opera, Stefano Colonna in Rienzi with Opera Orchestra of New York, and Silvano in Un ballo in maschera and Chirurgo in La forza del destino with Collegiate Chorale. He also created the roles of Tortsheiner in the world premiere of world premiere of Moore’s Enemies, A Love Story with Palm Beach Opera and Apollo in Karman Ince’s The Judgement of Midas with American Opera Projects.


On the concert stage, he joined the American Symphony Orchestra for Spohr's Die letzten Dinge, Fanny Mendelssohn’s Musik Für die Toten der Cholera-Epidemie, and the Father in Dessau’s Hagadah shel Pessach; Honolulu Symphony for Beethoven’s Mass in C; San Francisco Symphony and Michael Tilson Thomas in Copland’s arrangement of “Golden Willow Tree” from Old American Songs; and the Cincinnati May Festival for Ebed Melech in Weill’s The Prophets under the baton of James Conlon. He has also twice joined the New York City Ballet for performances of Bernstein’s Dybbuk. Additional concert engagements have included Mozart’s Requiem with the Detroit Oratorio Society, Handel’s Messiah with the Louisiana Philharmonic Orchestra, a Viennese New Year’s Eve concert with the Dayton Philharmonic Orchestra, and Berlioz’ Messe Solennelle with the Northern Kentucky Symphony.


Mr. Horst was the first prize-winner of the Wagner division of the Liederkranz Competition and the second prize winner in the Wagner division of the Gerda Lissner Foundation International Vocal Competition, both in 2011. Additionally, he is a former winner of the Metropolitan Opera National Council Auditions and a recipient of the Marian Anderson Prize for Emerging Classical Artists. He is a former Filene Young Artist at Wolf Trap Opera, where he received the Shouse Career Grant, as well as San Francisco Opera’s prestigious Adler Fellowshop, Merola Opera Program, and Western Opera Theater tour. He holds degrees from the University of Cincinnati College-Conservatory of Music and Goshen College.


  • PHILIP HORST