Canadian tenor Adam Luther made his Pacific Opera Victoria debut in 2011 as Anatol in Samuel Barber's Vanessa. The 2014/15 season saw his return for the roles of Froh in Wagner's Das Rheingold and Pinkerton in Puccini's Madama Butterfly. He is Cassio in the October 2015 production of Verdi's Otello.
Mr. Luther's 2014-2015 season also included Pinkerton for Michigan Opera Theater and Saskatoon Opera, as well as Tamino in Die Zauberflöte for Edmonton Opera. The season also included his debut in Verdi's Messa da Requiem with the Ottawa Choral Society, a recital in Quebec with the FestiVoix de Trois-Rivières and an operetta concert as part of the Brott Summer Festival.
His 2015/16 season includes company debuts with Vancouver Opera as Pinkerton and with Calgary Opera as Tamino. Concert engagements include an Opera Gala with the Johnstown Symphony Orchestra in Pennsylvania; the highly acclaimed Salute to Vienna New Year's concert series in Chicago, San Diego and Los Angeles; Alfred in Die Fledermaus with the Kitchener Waterloo Symphony Orchestra; and appearances with Symphony Nova Scotia for Mozart's Requiem, Chorus Niagara for Bruckner's Te Deum and Finzi's For St. Cecilia, and FestiVoix de Trois-Rivières to sing Alfredo in a concert version of La traviata.
Highlights for 2013/2014 included debuting with Edmonton Opera in Strauss' Salome and singing Lord Essex in Benjamin Britten's Gloriana with Toronto's Opera in Concert. He also appeared with Toronto's Orpheus Choir and Chorus Niagara in Dvořák's Requiem at Koerner Hall. Other concert appearances included Handel's Messiah with the Newfoundland Symphony Orchestra and a recital with Torontoís newest concert series, Recitals at Rosedale.
In the 2012/2013 season, Mr. Luther appeared as the Sailor in Peter Sellarsí production of Wagner's Tristan und Isolde and participated in Salome, Dialogues des Carmélites, and Lucia di Lammermoor at the Canadian Opera Company. Other recent COC appearances include Arbace and the High Priest in Idomeneo, Rodrigo in Otello, Remendado in Carmen, Jaquino in Fidelio, the title role in Gazzaniga's Don Giovanni, Tenor 1 in Stravinsky's Renard, and Lysander in A Midsummer Nightís Dream.
During the 2012-2013 season Mr Luther also appeared as Count Danilo in The Merry Widow with Toronto Operetta Theatre. In the summer of 2013 he made two role debuts to critical and audience acclaim: Don Jose in Carmen with Saskatoon Opera and Alfredo Germont in La traviata with Highlands Opera Festival.
Born in Newfoundland, Adam recently completed his tenure as a member of the Canadian Opera Company Ensemble Studio where he performed many mainstage roles to great critical and audience acclaim. Most notably, he sang Der Steuermann in Christopher Alden's Der fliegende Holländer at the Canadian Opera Company.
In recent seasons Mr. Luther appeared as Rodolfo in La bohème with Against the Grain Theatre, Eisenstein in Die Fledermaus with Toronto Operetta Theatre, and Jirka in Dvorakís The Devil and Kate with Opera in Concert. He also sang the tenor roles in Stravinksy's Renard and Le rossignol at Opéra de Québec.
Mr. Lutherís other operatic credits include the roles of Alfred in Die Fledermaus and Male Chorus in The Rape of Lucretia with the University of Toronto Opera School, Stefano in Filumena in Banff, and Tamino in Die Zauberflöte with the Guelph Symphony Orchestra.
Mr. Luther has been a featured soloist with the Newfoundland Symphony Orchestra, Manitoba Chamber Orchestra, Sounds of the Festival in Parry Sound, Aldeburgh Connection, Chorus Niagara, and the Arts and Letters Club of Toronto. He received his Bachelor of Music degree from Wilfrid Laurier University, as well as a Diploma in Opera from both Wilfrid Laurier University and the University of Toronto.
AUDIO: Hear Adam Luther perform arias from Tosca, Rusalka, Manon, and La Bohème.
Adam Luther made a worthy Pinkerton. That is to say, he eschewed the portrayal of a complete cad, making him a confident young man, genuinely enchanted by his exotic Japanese house and his exotic child bride, worldly enough to know it won't last. but, ultimately, man enough to understand and feel the tragedy he has caused. Vocally too, he held his own. Facile in his salute to Japan's shifing property and marriage laws, "Amore o grillo", in the long duet which closes the first act, Han and Luther captured the music's soul-searching magic with tender beauty. His final aria "Addio fiorito asil" delivered genuine, tragic remorse.
Elizabeth Paterson, Review Vancouver, Review of Pacific Opera Victoria's Madama Butterfly, 2015
The show won us a small revelation: Adam Luther ... who projects a beautiful, powerful voice and brings intensity and intelligence to the character of Pinkerton.
Le spectacle nous vaut une petite révélation: Adam Luther ... qui projette une voix belle, puissante et juste et apporte intensité et intelligence au personnage de Pinkerton.
Claude Gingras, La Presse, Review of Madama Butterfly at Semaine italienne de Montreal, 2014
Adam Luther unleashes his nimble, vibrant tenor as the Earl of Essex, singing with a rich depth of tone and confidence. Britten's lovely paired madrigals, the so-called Lute Songs sung by Essex to distract the Queen, however briefly, from weighty matters of state are enchantingly performed by this gifted young artist with a breezy air and sweetness. Luther, a frequent visitor to the COC mainstage and graduate of the Companyís exceptional Ensemble Studio program, is utterly convincing as the dashing feckless Earl so irresistible to a Queen desperate for human contact.
Opera Going Toronto, review of Gloriana with VoiceBox: Opera in Concert, 2013
Adam Luther, though young (barely out of training), is secure and attractive vocally as Anatol, with an easy stage presence that underscores the character's charm and cynicism, though in his ardent account Anatol becomes something more than a one-dimensional bounder.
Kevin Bazzana, Times Colonist, review of Pacific Opera Victoria's Vanessa. 2011