“Baritone Noel Bouley is a rising star that seems poised to become the next Dutchman of choice!”
Acclaimed as a “formidable and richly expressive baritone” by the Cincinnati Enquirer, Noel Bouley has been applauded for his “commanding presence and portrayal of real humanity on stage.”
The current season marks Bouley’s first freelance season, following his time as an ensemble member at Deutsche Oper Berlin, where his roles included the title role in Der fliegende Holländer, Donner in Das Rheingold, Biterolf in Tannhäuser, Scarpia in Tosca, Sharpless in Madama Butterfly, Lescaut in Manon Lescaut, Germont in La traviata, andAmonasro in Aïda, amongst others. He returns to Deutsche Oper Berlin upcoming for guest performances as Wotan in DasRheingold.
Elsewhere, Bouley has recently made important role and company debuts: as the High Priest of Dagon in Samson et Dalila at Washington National Opera, Ford in Falstaff at Oper Köln, Germont in La traviata at Glyndebourne, the title role in Der fliegende Holländer at Oper Leipzig and Opera San José. Further highlights include Wotan in Das Rheingold and Rigoletto at Theater Chemnitz, Scarpia in a new production of Tosca at Staatstheater am Gärtnerplatz Munich, as well as Wotan/Wanderer in concerts of ‘Der ring an einem Abend’in Munich and Stuttgart.
A committed concert performer, Bouley is in demand for Orff’s Carmina Burana, Beethoven’s Symphony No. 9, Vaughn Williams’ Five Mystical Songs, Stravinsky’s Pulcinella, Handel’s Messiah, and Bach’s Mass in B minor, appearing recently with the Dallas Symphony Orchestra, Aspen Festival Orchestra, Bravo! Vail Music Festival, and the Lexington Philharmonic.
Bouley was a finalist in the Houston Grand Opera’s Eleanor McCollum Competition and the Dallas Opera Guild’s Vocal Competition. He is a native of Houston, Texas.
“Baritone Noel Bouley made the Philistine High Priest a smooth spin doctor with rich, easy volume”
(Washington Post, 2020)
“The list of noteworthy debuts continued with baritone Noel Bouley, whose raging snarl in the top notes made his High Priest of Dagon poisonous and spiteful. In his incestuous scene with Bridges’ Dalila, he matched her in vocal sheen and malice.”
(Charles T. Downey, Washington Classical Review, 2020)
“Noel Bouley, as the High Priest of Dagon, was consistently fantastic in every regard, holding court and making demands with an arresting vocal presence.”
(Sydney Boyd, Bachtrack, 2020)
“Baritone Noel Bouley as Baron Scarpia is frightening even by his sheer physical appearance: tall, long-haired, somber, he stands as a symbol of evil and seems by his powerful voice even more insurmountable. He wants Floria Tosca for himself — by force.”
(Barbara Hauter, Klassik Begeistert, 2019)
“With Noel Bouley stood a beefy Scarpia-giant, full-bodied baritone as a man with unrestrained power.”
(Wolf-Dieter Peter, NMZ, 2019)
“The American baritone Noel Bouley as Baron Scarpia was a wonderfully diabolical villain, an imposing stature, long-haired and respectful, like a rockstar president.”
(Peter Jungblut BR Klassik, 2019)
“Baritone Noel Bouley is a rising star that seems poised to become the next Dutchman of choice! There is nothing about this taxing role that eludes him. Mr. Bouley has a robust, rolling tone that is well-supported and responsive to his every interpretive nuance. His rich vocalizing and well-considered musical journey resulted in a potent, cathartic performance.”
(James Sohre, Opera Today, 2018)
“Noel Bouley played Giorgio Germont straight down the line, willing us to have sympathy with his dilemma, and his rich baritone was authoritative and highly convincing.”
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