Norman Reinhardt
Tenor

“Norman Reinhardt is merely magnificent…arguably a definitive Lensky. His glorious tenor never sounded more mellow, graceful or sincere” (Houston Chronicle)

Contacts

Ian Stones +44 (0)20 3725 9104
Christopher Lawson +44 (0)20 3725 9108

Biography

Since making his debut at the Salzburg Whitsun and Summer Festivals as Tony (West Side Story) alongside Cecilia Bartoli and conducted by Gustavo Dudamel, Norman Reinhardt sang his first Pollione (Norma) at both Théâtre des Champs-Élysées and Festspielhaus Baden-Baden, again with Bartoli, and returns to Salzburg as Rodrigo di Dhu in La donna del lago, and Lurcanio in Christoph Loy’s new production of Ariodante, both at the Whitsun Festival. Elsewhere in Europe, appearances include rare revivals of Bellini’s La straniera and Rossini’s Elisabetta, regina d’Inghilterra at Theater an der Wien. 

Next season Norman Reinhardt debuts as Belmonte (Die Entführung aus dem Serail) at Semperoper Dresden before returning to Theater an der Wien as Robert, Earl of Leicester (Maria Stuarda), and Houston Grand Opera as Tony, and gives a rare performance of Donizetti’s Maria di Rohan with Washington Concert Opera under Antony Walker. 

Since making his debut at the Salzburg Whitsun and Summer Festivals as Tony (West Side Story) alongside Cecilia Bartoli and conducted by Gustavo Dudamel, Norman Reinhardt sang his first Pollione (Norma) at both Théâtre des Champs-Élysées and Festspielhaus Baden-Baden, again with Bartoli, and returns to Salzburg as Rodrigo di Dhu in La donna del lago, and Lurcanio in Christoph Loy’s new production of Ariodante, both at the Whitsun Festival. Elsewhere in Europe, appearances include rare revivals of Bellini’s La straniera and Rossini’s Elisabetta, regina d’Inghilterra at Theater an der Wien. 

Next season Norman Reinhardt debuts as Belmonte (Die Entführung aus dem Serail) at Semperoper Dresden before returning to Theater an der Wien as Robert, Earl of Leicester (Maria Stuarda), and Houston Grand Opera as Tony, and gives a rare performance of Donizetti’s Maria di Rohan with Washington Concert Opera under Antony Walker. 

A graduate of the Houston Grand Opera Studio, Norman Reinhardt has since enjoyed a continued relationship with the company, with roles including Ferrando (Così fan tutte), Bénédict (Béatrice et Bénédict), Lysander(A Midsummer Night’s Dream), Ernesto (Don Pasquale), Jacquino (Fidelio)andCassio (Otello). As a member of the ensemble at Oper Leipzig, he extended his repertoire to include Alfredo (La traviata),Lensky (Eugene Onegin), Conte Almaviva (Il barbiere di Siviglia), Don Ottavio (Don Giovanni), Tom Rakewell (The Rake’s Progress), and Tamino (Die Zauberflöte), all of which he performed under Ulf Schirmer. In particular, Tamino brought considerable critical acclaim, leading to his debut at the Bregenz Festival in David Pountney’s production under Patrick Summers, released on DVD by Unitel. 

Download Bio
uk

Video

 
 

Audio

Contacts

Ian Stones +44 (0)20 3725 9104
Christopher Lawson +44 (0)20 3725 9108

Reviews

“Norman Reinhardt, with his warm, sonorous, high-pitched tenor, makes a real figure of sympathy in Leicester” (Klassik Info, March 2017) 

“Norman Reinhardt brought much lyricism and style to Leicester (as well as a surprisingly extended top range)” (Opera Critic, March 2017) 

“Norman Reinhardt is an excellent Leicester” (news.at, March 2017)

“Norman Reinhardt, with his warm, sonorous, high-pitched tenor, makes a real figure of sympathy in Leicester” (Klassik Info, March 2017) 

“Norman Reinhardt brought much lyricism and style to Leicester (as well as a surprisingly extended top range)” (Opera Critic, March 2017)  

“Norman Reinhardt is an excellent Leicester” (news.at, March 2017) 

“Norman Reinhardt (Belmonte) has a pleasing, ‘open’ voice” (BBC Music Magazine, November 2016) 

“[Reinhardt’s] depiction of the would-be rescuer’s shifting emotions of ardent sentimentality and naïve hopefulness are a spot-on” (Gramophone Magazine, September 2016) 

“the tenor Norman Reinhardt was a most stylish and refined Belmonte.”  (Concertclassic.com, September 2015) 

“Tony also deserved the standing ovations: the tenor Norman Reinhardt can gloriously roam, seamlessly switching between chanting and cantilena, but also plays convincingly and fits seamlessly into the ensemble.” (BR Klassik, August 2016) 

“Norman Reinhardt gives an excellent performance. He glows, he sings endlessly long phrases, and offers wonderful pianissimi.” (Der Standard, August 2016) 

“As Tony, Norman Reinhardt sounded at ease…and showcased his excellent vocal skills in the aria Maria.” (Opera Critic, August 2016) 

“Reinhardt sang a sensitive yet commanding “Una furtiva lagrima” (Kansas City Star, March 2016) 

“Norman Reinhardt is merely magnificent as Lensky…Reinhardt’s Lensky is the other must-see (and hear) performance of the night – arguably a definitive Lensky. His glorious tenor has never sounded more mellow, graceful or sincere…he caps the performance with an absolutely superb rendition of his profound Act 3 solo” (Houston Chronicle, October 2015) 

“Norman Reinhardt was a passionate Lensky who made the most of his aria before the fatal duel with Onegin” (Culturemap, October 2015) 

“Tenor Norman Reinhardt was riveting in the central role of Tom Rakewell on opening night. Not only did he make Stravinsky’s challenging music sound as natural as casual speech, he gave a poignant portrayal of Tom’s character arc through his singing and acting. Reinhardt packed a whole scene’s worth of meaning into a single word — “Why?” — in his breakfast scene with Baba the Turk and won the audience’s sympathy even when the character was behaving badly.” (The Salt Lake Tribune, May 2015) 

“Norman Reinhardt, vocally no less insistent, characterised the rake in all its indecisiveness and passive attitude.” (Neues Deutschland, May 2014) 

“When American tenor Norman Reinhardt rises above his baritonal middle register, he possesses a light, accomplished, and well rounded metallic voice, having no problem in the higher tessitura consistently creating the desired colors and effects……… Hopefully we will hear more from this tenor in the future, one could well imagine.” (Der Neue Merker, January 2015) 

“Reinhardt possesses a slim, youthful tenor, with an effortless negotiation of Bellini’s high notes. From the beginning he effectively plays a torn, suicidal man constantly quarrelling with himself and the world between two women.” (Salzburger Nachrichten, January 2015) 

“Norman Reinhardt conveys Arturo’s restlessness in a theatrically sensitive way. He is a physically impressive tenor that sings into the top with slim, intrepid height and clarity, which is exactly what we want to hear in Italian opera from the early 19th century.” (Die Presse, January 2015) 

“Reinhardt’s ringing voice not only captured Ferrando’s ardor, but it also brought out the sting when Ferrando discovered his girlfriend, Dorabella, was more susceptible to temptation than he thought.” (Houston Chronicle, November 2014) 

“The quality of Reinhardt’s tenor — energetic, impassioned, and fluid from low to high — was ideal for this opera of amorous persuasion.” (Opera News, November 2014)  “The cast is captured well, not least the Tamino of Norman Reinhardt, impressive for the ringing heft of his voice.” (Opera, June 2014) 

“Singing Tamino is an American tenor whom I had not heard before but want to again. Norman Reinhardt possesses a somewhat dark-hued lyric tenor with a strength and steadiness to intensify his vocal achievement. Based on his work here, Reinhardt is a welcome addition to my collection.” (International Record Review, November 2013) 

“It’s never easy for singers to register with individuality on the Lake Stage, which makes the musically ringing heft of Norman Reinhardt’s Tamino all the more impressive.” (Daily Telegraph, July 2013) 

“The American tenor Norman Reinhardt as Tamino was the premiere vocal sensation of the evening, with heroic substance in the voice, while at the same time differentiated and sensitive in the middle register…” (Der Landbot, July 2013) 

“Norman Reinhardt, predestined for Wagner, sang the role of Tamino with a metallic clear tenor…” (Kleine Zeitung, July 2013) 

“The most beautiful voice belongs to Norman Reinhardt, the figure [embodying] universal love and the desire for revenge. One can literally hear the tears of emotion in his voice, embedded in a Mediterranean copper-coloured tone.” (Klassik.com, December 2013) 

Discography

Buy