Tobias Greenhalgh
Baritone

“Greenhalgh acted up a storm [and] summoned a wealth of refined tone colours that served Poulenc’s most sensual melodic lines in a particularly stylish fashion.” (Opera News)

Contacts

Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Biography

This season Tobias Greenhalgh will make role debuts as both Demetrius (A Midsummer Night’s Dream) and Cecil (Maria Stuarda) at Theater an der Wien, as well as house debuts with Glyndebourne on Tour as Figaro (Il barbiere di Siviglia), and at the prestigious Festival d’Aix as Aeneas (Dido and Aeneas). 

As a member of the Junges Ensemble of the Theater an der Wien, Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. His roles on the mainstage included Ned Keene, in Christof Loy’s universally acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) in the Wiener Kammeroper. 

This season Tobias Greenhalgh will make role debuts as both Demetrius (A Midsummer Night’s Dream) and Cecil (Maria Stuarda) at Theater an der Wien, as well as house debuts with Glyndebourne on Tour as Figaro (Il barbiere di Siviglia), and at the prestigious Festival d’Aix as Aeneas (Dido and Aeneas). 

As a member of the Junges Ensemble of the Theater an der Wien, Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. His roles on the mainstage included Ned Keene, in Christof Loy’s universally acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) in the Wiener Kammeroper. 

A keen recitalist, Tobias has performed at the Arnold Schoenberg Center in Vienna, where he returns this season in a new collaboration with Geoffrey Gorden, and for the Brooklyn Art Song Society (Mörike Lieder); Tobias returns to New York this season in a programme of modern works at Carnegie Hall. He has also given three programmes for the New York Festival of Song and joined them on tour to Hong Kong in a Bernstein programme with Bright Sheng. A skilled concert artist, Tobias recently sang Bach’s St Matthew Passion with Soli Deo Gloria under John Nelson. Tobias was a finalist at the Operalia competition in 2015.

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Contacts

Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Reviews

“Tobias Greenhalgh is a lovable, jolly, extrovert Figaro, singing with real flair and suggesting a credibly ubiquitous barber” (Music OMH, October 2017)

“a rich-toned Tobias Greenhalgh (Figaro) had ample stage presence, more witty than self-important, and he knocked out ‘Largo al factotum’ with ease.” (Classical Source, October 2017)

“American baritone Tobias Greenhalgh’s Figaro is quick-witted as well as comical – his is more than the typical Jack-the-lad portrayal.” (The Stage, October 2017)

“American baritone Tobias Greenhalgh (Figaro) excelled as the eponymous Barber. His Figaro had swagger, but was utterly charming from the outset, proving to be the linchpin of a strong ensemble cast. His “Largo al factotum” oozed charisma, with no hint of effort.” (bachtrack, October 2017)

“Tobias Greenhalgh, his sturdy baritone matching his strapping presence, was her son Tom” (Opera Magazine, August 2017)

“Tobias Greenhalgh is a lovable, jolly, extrovert Figaro, singing with real flair and suggesting a credibly ubiquitous barber” (Music OMH, October 2017)

“a rich-toned Tobias Greenhalgh (Figaro) had ample stage presence, more witty than self-important, and he knocked out ‘Largo al factotum’ with ease.” (Classical Source, October 2017)

“American baritone Tobias Greenhalgh’s Figaro is quick-witted as well as comical – his is more than the typical Jack-the-lad portrayal.” (The Stage, October 2017)

“American baritone Tobias Greenhalgh (Figaro) excelled as the eponymous Barber. His Figaro had swagger, but was utterly charming from the outset, proving to be the linchpin of a strong ensemble cast. His “Largo al factotum” oozed charisma, with no hint of effort.” (bachtrack, October 2017)

“Tobias Greenhalgh, his sturdy baritone matching his strapping presence, was her son Tom” (Opera Magazine, August 2017)

“There is outstanding work as well from Tobias Greenhalgh as the hotheaded elder son Tom Joad” (Chicago Tribune, June 2017)

“Tobias’ sincere acting, handsome presence, pointed diction and strikingly rich voice made for a powerful impression” (Opera Today, June 2017)

“Tobias Greenhalgh plays Tom, the son on parole from a manslaughter sentence. Greenhalgh, a strapping, handsome, earnest young man…has a strong true baritone voice.” (Broadway World, May 2017)

“As Tom Joad, Tobias Greenhalgh combined a fine baritone with a strapping person. He was convincing throughout” (St Louis Post Dispatch, May 2017)

“Tobias Greenhalgh is a born scene-stealer” (South Florida Classical Review, April 2017)

“Tobias Greenhalgh (as Merlin and the Cold Genius) is a very virile, dominant presence” (Merkur, December 2016)

“Dr. Falke is played by the young American baritone Tobias Greenhalgh. He has a beautiful, full-bodied, warm and powerful baritone” (Opernfreund, August 2016)

“Tobias Greenhalgh demonstrates a powerful sounding baritone as Dr. Falke”(Neues Volksblatt, July 2016)

“Tobias Greenhalgh as Dr. Falke has a wonderfully smooth baritone.” (Opernnetz, July 2016)

“Tobias Greenhalgh brought nuanced singing and a noble baritone to the role of Escamillo” (Der Standard, March 2016)

“Tobias Greenhalgh’s rich, smooth baritone and tall, handsome presence were an asset in the Corporal Morales’ arietta” (Palm Beach Daily News, January 2016)

“Tobias Greenhalgh (a member of the Theater an der Wien Young Artists’ Ensemble) as Ned Keene proves a confident and compelling performer who holds his own with the more mature members of the cast.” (Opera Critic, December 2015)

“the young Tobias Greenhalgh is ideal as the pharmacist, Ned Keene.” (Opernnetz, December 2015)

“As Cecco, Tobias Greenhalgh let his glorious baritone flow with a warm timbre which was made for this character who, popular with the women, must be gently seductive, but also vigorous and confident. You can understand why all the ladies were sharply calculating their chances with him.” (Bachtrack, June 2015)

“Tobias Greenhalgh filled out the menage with a portrayal of the musician Schaunard that was handsome in voice and presence.” (Palm Beach Daily News, January 2015)

“A former Young Artist in 2014, Tobias Greenhalgh returned to sing the role of Schaunard…he certainly made his mark with a very fine performance. He has a lovely baritone delivery [that is] quite flexible in his lovely solo work.” (Palm Beach Arts Paper, January 2015)

“a highly intensive and technically sound Argante from Tobias Greenhalgh,” (Wiener Zeitung, December 2014)

“The stature of Tobias Greenhalgh (Argante) is as strong as his baritone,” (Der Standard, December 2014)

“a really beautiful baritone that sounds like the future.” (Der Neue Merker, October 2014)

“As the unusually fertile husband, baritone Tobias Greenhalgh acted up a storm. More important, he summoned quite a wealth of refined tone colours that served Poulenc’s most sensual melodic lines in a particularly stylish fashion.” (Opera News, August 2014)

“In the same category was the hilarious performance of baritone Tobias Greenhalgh as the husband in Les mamelles, who had both the extended high range for the role and the confidence and comic range to pull off singing much of the evening in drag.” (Ion Arts, August 2014)

“Tobias Greenhalgh’s riveting baritone was well-suited to the arrogant Leo Stein, with power to spare, and he also brought a humorous sensitivity to Man Ray.” (Opera Today, June 2014)

“the gifted and incisive young baritone Tobias Greenhalgh as the various villains of the crucifixion story.” (Chicago Tribune, April 2014)

“Tobias Greenhalgh tackled Judas, Peter and assorted malign authority figures with an ideal dark, firmly focused baritone.” (Chicago Classical Review, April 2014)

“In addition, the young baritone Tobias Greenhalgh gave his declamatory parts the precise diction they require, and his dramatic sense was a nice contrast with the often meditative tone of the other soloists.” (Seen and Heard International, April 2014)

“Baritone Tobias Greehalgh’s Mr. Webb, Emily’s father, was perfection in every detail. His acting, his facial expressions, and his genuine warmth came across to the audience immediately. His is another powerful voice, with a delivery that can be at once loud and sensitive; it has a flexibility the envy of most singers with a distinguished timbre. He is also a well-built, agile young man, who would surely be any savvy opera directors’ first choice for Mozart’s Figaro.” (Palm Beach Arts Paper, February 2014)

Discography

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