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The American baritone, Richard Holmes, began his career in the Metropolitan Opera Children’s Chorus and studied at Manhattan School of Music with Ellen Repp.
Richard Holmes made his operatic debut at Lake George Opera (now Opera Saratoga), where he has since returned in W.A. Mozart's The Magic Flute, Cimarosa’s Il Maestro di Cappella, and Donizetti’s Viva la Mamma. A guest artist with the Metropolitan Opera in Manon, Die Fledermaus, and Susannah, he has been a principal artist with Glimmerglass, Virginia, San Antonio, El Paso, Natchez, Columbus, Dayton, and New York Grand Operas in such roles as Figaro in Rossini’s Figaro, Belcore in L’Elisir D’Amore, Malatesta in Don Pasquale.
Richard Holmes is known internationally for his performances with New York Gilbert and Sullivan Players (NYGASP). His concert repertoire with Amor Artis, Sacred Music in a Sacred Space (the title role of George Frideric Handel’s Saul), Canterbury Choral Society (Haydn’s The Seasons), Brooklyn Philharmonic, among others, ranges from Baroque oratorios to Orff’s Carmina Burana and Kurt Weill’s Berlin Requiem. He has been soloist with the Czech Philharmonic Orchestra in G.F. Handel’s Judas Maccabeus in Prague, Brno, Budapest, and Cracow, and has also sung as soloist on tour with Amor Artis in Stockholm, St. Petersburg, Paris, Amsterdam, and London. He has performed J.S. Bach's ‘Coffee’ Cantata (BWV 211) with Musica Bella Orchestra of New York in 2007, and made his debut with Princeton Pro Musica in 2018
Richard Holmes has recorded for Vox, Albany, Newport Classics, Lyrichord, and Vanguard, most recently in an acclaimed first recording of Jerome Kern’s Sally.
This year’s (2018-2019) appearances include The Yeomen of the Guard with New York Gilbert and Sullivan Players, a debut with Pro Arte Chorale, Gabriel Fauré's Requiem with Taghkanic Chorale, Monteverdi's Vespers with Amor Artis under the direction of Maestro Brandau, and a one-man show at the International Gilbert & Sullivan Festival in Harrogate, UK. He recently made his film debut (as himself) in Susan Froemke’s acclaimed documentary, The Opera House. |
