 Dean Peterson is a regular guest of the leading opera houses of the world, including the Metropolitan Opera (the Four Villains in Les Contes d'Hoffman, Boito's Mefistofele, Mustafa in L'Italiana in Algeri, Mephistopheles in Faust, Trulove in The Rake's Progress, King in Aida), Lyric Opera of Chicago (Frank Maurrant in Street Scene, Lodovico in Otello), San Francisco Opera (Mustafa), Canadian Opera (Kecal in The Bartered Bride), Cincinnati Opera (Escamillo in Carmen, title role in Don Giovanni, Oroveso in Norma, Timur in Turandot), The Dallas Opera (the Four Villains in Les Contes d'Hoffman, Basilio in Il Barbiere di Siviglia, Oreste in Elektra, the Forester in The Cunning Little Vixen and the Doctor in Wozzeck), Houston Grand Opera (Rucker Lattimore in the world premiere of Cold Sassy Tree, the Villains in Les Contes d'Hoffman), Los Angeles Opera (Pistola in Falstaff and Baron Zeta in The Merry Widow), Minnesota Opera (Philip in Don Carlos in French and Ferrara in Lucrezia Borgia), Pittsburgh Opera (Escamillo), San Diego Opera (Rucker Lattimore, Alphonso in Cosi fan tutte, Leporello in Don Giovanni), Casals Festival (Boito's Mefistofele), Santa Fe Opera and Spoleto, U.S.A. Festival (Walther in Luisa Miller).
He has also appeared with Opera Orchestra of New York at Carnegie Hall (Ferrara in Lucrezia Borgia, Giorgio in I Puritani) and the Washington Concert Opera (Phorcas in Esclarmonde).
He also appears with many regional companies, including the Atlanta Opera, Austin Lyric Opera, Calgary Opera, Opera Carolina (Charlotte), Cleveland Opera, Connecticut Grand Opera, Edmonton Opera, Opera Hamilton, Manitoba Opera, New Orleans Opera, Palm Beach Opera, and Portland Opera, and has earned critical acclaim as a sought after interpreter of Figaro, Don Giovanni, Leporello, Escamillo, the four Villains, Mephistopheles, Mustafa, Olin Blitch in Susannah, and as Rucker Lattimore in Floyd's Cold Sassy Tree, written for him and premiered by the Houston Grand Opera.
In Europe, he has appeared in Italy with Teatro alla Scala Milan (Mephistopheles, Colline in La Boheme, Raimondo in Lucia di Lammermoor, and Don Fernando in Fidelio), Teatro Massimo Bellini di Catania, Teatro Comunale di Bologna, Teatro Carlo Felice di Genoa (Rodolfo in La Sonnambula), Teatro Massimo di Palermo (title role in Bartok's Bluebeard's Castle), in Spain with the Teatro Real in Madrid, Palma de Majorca (Mephistopheles, The Villains, and title role in Mefistofele), Malaga, Oviedo, in Austria at the Vienna State Opera (title role in Le Nozze di Figaro), in Germany at the Deutsche Oper Berlin (Olin Blitch, Villains), in France with Opera de Nice, in the Netherlands with the Netherlands Opera (title role in Le Nozze di Figaro), and in Switzerland with Geneva Opera.
Notable future appearances include the New Orleans Opera (Basilio), Minnesota Opera (Four Villains), Dallas Opera (King Henry in Lohengrin), and San Diego Opera (the Doctor in Wozzeck).
Notable orchestral engagements include the Maggio Musicale (Florence) for Mendelssohn's Oratorio St. Paul (Colin Davis) and Handel's Messiah (Zubin Mehta), Teatro alla Scala (Milan) in the title role of Mendelssohn's Elijah (Gianandrea Gavazzeni) Rossini's Petite Messe Solenelle (Neville Mariner), Beethoven's Symphony No. 9 (Riccardo Muti), Ravenna Festival in the Verdi Requiem (Riccardo Muti) which was taped for commercial release by EMI, Ravinia Festival for Rossini's Stabat Mater, (Riccardo Chailly),Valencia and Cuenca (Spain) for Rossini's Stabat Mater (Jesus Lopez-Cobos); L'Orchestre Philharmonique de Nice in Messiah, Elijah, Brahm's Requiem, Verdi Requiem and Beethoven's Ninth Symphony; the Israel Philharmonic for Handel's Messiah, Beethoven's Missa Solemnis (Zubin Mehta) and Symphony No. 9. A native of Davenport, Iowa, he resides in Florida with his wife and two young daughters.Repertoire or Discography Operatic Repertoire
| COMPOSER | OPERA | ROLE | | Bartok | Bluebeard’ Castle | Bluebeard | | Beethoven | Fidelio | Don Fernando | | Bellini | Norma | Oroveso | | Bellini | I Puritani | Giorgio | | Bellini | La Sonnambula | Rodolpho | | Berg | Lulu | Dr. Schön | | Berg | Wozzeck | Doctor | | Bizet | Carmen | Escamillo | | Boito | Mefistofele | Mefistofele | | Delibes | Lakme | Nilakantha | | Donizetti | Anna Bolena | Henry VIII | | Donizetti | Lucia di Lammermoor | Raimondo | | Donizetti | L’Elisir d’Amore | Belcore | | Donizetti | Lucrezia Borgia | Alphonso | | Floyd | Cold Sassy Tree | Rucker Lattimore | | Floyd | Susannah | Olin Blitch | | Gounod | Faust | Mephistopheles | | Janacek | The Cunning Little Vixen | The Forester | | Mozart | Cosi fan tutte | Alphonso | | Mozart | Don Giovanni | Giovanni, Leporello | | Mozart | Le Nozze di Figaro | Figaro | | Offenbach | Les Contes d’Hoffman | Four Villains | | Puccini | La Boheme | Colline | | Puccini | Tosca | Scarpia | | Puccini | Turandot | Timur | | Rossini | Il Barbiere di Siviglia | Basilio | | Rossini | L’Italiana in Algeri | Mustafa | | Rossini | Semiramide | Assur | | Smetana | The Bartered Bride | Kecal | | Strauss, R. | Elektra | Orestes | | Stravinsky | The Rake’s Progress | Nick Shadow, Trulove | | Stravinsky | Oedipus Rex | Creonte | | Verdi | Aida | Ramfis | | Verdi | Attila | Attila | | Verdi | Nabucco | Zaccaria | | Verdi | Otello | Lodovico | | Verdi | Rigoletto | Sparafucile | | Verdi | Il Trovatore | Ferrando | | Verdi | Don Carlos (French) | King Philip | | Verdi | Luisa Miller | Walther | | Weill | The Seven Deadly Sins | Bass |
Orchestral Repertoire
| COMPOSER | WORK | | Bach | B minor Mass | | Bach | St. John Passion | | Bach | St. Matthew Passion | | Beethoven | Ninth Symphony | | Brahms | Requiem | | DuBois | The Seven Last Words of Christ | | Durufle | Requiem | | Fauré | Requiem | | Handel | Judas Maccabeus | | Handel | Messiah | | Haydn | The Creation | | Mendelssohn | Elijah | | Mendelssohn | St. Paul | | Mozart | Requiem | | Rossini | Petite Messe Solennelle | | Rossini | Stabat Mater | | Verdi | Requiem |
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MILLER DIVISION
Pinnacle Arts Management
889 Ninth Ave., Suite 1
New York, NY 10019
USA
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Reviews
Selected Reviews
Cold Sassy Tree, Opera Carolina, Charlotte
"Carrying the meatiest role -- and the tastiest music -- baritone Dean Peterson delivered a beautiful and rounded rendition of Rucker. The stately beauty of Peterson's tone ennobled Rucker's exhortations to live life fully, elevating his makeshift sermonizing to an inspirational summit. Having originated the role in Houston, Peterson now owns it, injecting his own nuances even where the writing falters."
Perry Tannenbaum, Creative Loafing
February 2003
"Dean Peterson gave Rucker Lattimore, the aging proprietor of the town's general store, a crustiness that softened as a December-May romance played out. Peterson's staunch, sonorous tones gave way to softer ones as Rucker's heart began to open."
Steven Brown, Charlotte Observer
February 2003
Tosca, Gold Coast Opera, Florida
"Dean Peterson was thoroughly into his role as the malevolent Scarpia. His understated performance made a more sympathetic character out of this lustful police chief by resisting the tradition of nasty snarling. His rich baritone provided dimension during the second act, and his death (although bloodless) was a model of how to die with good taste."
Alan Becker, The Sun Sentinal
November 2002
Don Carlos, Minnesota Opera, Minneapolis
"Dean Peterson was stupendous as King Philippe. His aria at the beginning of Act III, when he believes Elisabeth has been unfaithful to him and therefore reconciles that he must execute his son, is nothing short of stupendous. He conveys through both his stage presence and his vocalization all the torment of a betrayed husband and tormented father and king."
Mark Yost, The Saint Cloud Times
May 2002
"And especially impressive was Dean Peterson's commanding and complex embodiment of Philip, the tragic, tortured king who feels he can't trust a single person in his life. In singing that was rich and resonant all evening."
Michael Anthony, The Star Tribune
May 2002
Susannah, Palm Beach Opera, Florida
"Bass-baritone Dean Peterson, a veteran Blitch in European and American opera houses, was as vocally charismatic in the salvation scene as the seduction scene. The vocal clarity, ringing beauty and strength project whether he's exhorting sinners at full volume or quietly "crooning" to a girl."
Sharon McDaniel, The Palm Beach Post
March, 2002
"The Bass-baritone sang with great command and impact and succeeded in making Blitch more than a caricature. His remorse and desperate praying after seducing Susannah were jarring, and Peterson registered the preacher's conflicted nature, with his gentle resignation in I'm a Lonely Man, Susannah."
Lawrence A. Johnson, The Sun-Sentinel
March, 2002 |
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