Gordon Bintner
Shirley Thomson
Alice Jones
Bass-baritone Gordon Bintner has been an ensemble member at Oper Frankfurt since the 2016/17 season where he has simultaneously honed his craft and built a broad and impressive operatic repertoire. On the Oper Frankfurt stage, Bintner has appeared as both Count Almaviva and Figaro (Le Nozze di Figaro), Papageno (Die Zauberflöte), Argante (Rinaldo), Gorjančikov (From the House of the Dead), Chorèbe (Les Troyens), Graf (Capriccio), Harlekin (Ariadne auf Naxos), Count (Schreker’s Der ferne Klang), Plumkett (Flotow’s Martha), Vladislav (Smetana’s Dalibor) and Escamillo (Carmen) among many others.
In the current season, Gordon Bintner performs as Don Polidoro in a new production of Cimarosa’s L’italiana in Londra at Oper Frankfurt, return to Canadian Opera Company as Papageno and makes house débuts at Opéra National de Paris as Junior in Bernstein’s A Quiet Place conducted by Kent Nagano, and at Royal Opera House Covent Garden as Guglielmo in Così fan tutte, conducted by Julia Jones.
As a former member of the Opera Studio of the Canadian Opera Company, Gordon Bintner has since regularly returned to its stage as a guest artist, recently making his role debuts there as both Eugene Onegin and Belcore in L’Elisir d’amore. As a graduate of its prestigious Young Singers Project, he has also performed at the Salzburg Festival as Astolfo in Donizetti’s Lucrezia Borgia, conducted by Marco Armiliato and as Phorbas in Achim Freyer’s new production of Oedipe under conductor Ingo Metzmacher and at the Salzburg Easter Festival, he has appeared under Christian Thielemann as the Herald in Verdi’s Otello.
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Performing experience elsewhere includes Papageno at Festival d’opéra de Québec and Michigan Opera Theatre, Mozart’s Figaro at Manitoba Opera, Lescaut in Massenet’s Manon at Opéra de Montréal, Nardo in La Finta Giardiniera as part of San Francisco Opera’s Merola Program and as Don Giovanni, he has appeared at both Opéra de Montréal and Festival de Beaune. In concert performances, he has performed as both Guglielmo and Count Almaviva in a da Ponte trilogy presented by the Milwaukee Symphony Orchestra under Edo de Waart, as Figaro in Le Nozze di Figaro with NAC Ottawa under Music Director Alexander Shelley, and as Junior in Bernstein’s A Quiet Place with the Montreal Symphony Orchestra under Kent Nagano.
An accomplished concert singer, Gordon has recently performed Handel’s Messiah, Christus in Bach’s Matthäus Passion, Christmas Oratorio and Cantatas BWV 147, 75 and 164 and has a wider repertoire including such works as Beethoven, Symphony No.9, Brahms’ Ein Deutsches Requiem and Mahler, Symphony No. 8.
The Grand Prize Winner of the OSM Standard Life Competition (2011) and First Prize and People’s Choice Award recipient of the Canadian Opera Company Ensemble Studio Competition (2012), Gordon Bintner’s discography includes Junior in Bernstein’s A Quiet Place with the Montreal Symphony Orchestra and Kent Nagano (Decca Classics, 2018) and the Count in Schreker’s Der ferne Klang (OehmsClassics, 2021).
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“Gordon Bintner (Don Polidoro), a virile baritone and a great comedian..”
“Gordon Bintner, recent grand prize winner of the OSM competition, is the star of the show. Tall, blond, seductive, he has everything a Don Giovanni needs, and better yet, he acts well and he sings well. This man will certainly have a big career.”
“By far the most finished was the baritone of Gordon Bintner, first-prize winner in this season’s OSM Competition. Warmly coloured from top to bottom, his singing boasted the twin virtues of natural phrasing and dead centre pitch.”
“This is a major singer and is clearly the best in this competition. He is tall, slim, handsome, moves well on stage, musicality and charisma to burn, has a glorious baritone that is sturdy yet expressive. In other words, this guy has the complete package. His Figaro aria was acted with flair and sung with firm, manly tone – bravo. His Rinaldo aria – a role he sang at McGill – was fabulous with excellent agility for such a big voice. It is clear Mr. Bintner is enormously talented.”
“The riveting and imperious Argante of bass-baritone Gordon Bintner dominated the largely uniform cast. Physically alluring, his acting was both organic and expressive, his characterization compelling and layered and his command of musical idiom, phrasing and Italian diction exemplary. He also produced a vocal performance of awe-inspiring beauty (as in ‘Vieni o cara’) and effortless power and accuracy (as in ‘Sibillar gli angui d’Aletto’).”
“Physically alluring, his acting was both organic and expressive, his characterization compelling and layered and his command of musical idiom, phrasing and Italian diction exemplary. He also produced a vocal performance of awe-inspiring beauty…and effortless power and accuracy.”
