Phillip Addis

Phillip Addis, Baritone

Pacific Opera Victoria
Count Almaviva in The Marriage of Figaro

April/May, 2014

Canadian baritone Phillip Addis made his Pacific Opera Victoria debut as Tarquinius in the 2006 production of Benjamin Britten's The Rape of Lucretia. He returned in 2007 to sing Masetto in Don Giovanni and in February 2013 for the role of Sid in Britten's Albert Herring. In April 2014 he appears as the Count in Mozart's The Marriage of Figaro, a role he has previously performed with Opéra de Montréal.

Phillip Addis is praised for his creamy, bright, smooth voice as much as for his spell-binding, daring, yet sensitive interpretations. A rising star on the international stage, Addis has performed in opera, concerts and recitals throughout Canada, the United States, Europe and Japan.

Phillip's 2013-2014 season includes his debut at the Canadian Opera Company as both Schaunard and Marcello in La Bohème; the Speaker in the Los Angeles Opera production of The Magic Flute; a reprise of his much-acclaimed Pelléas in the Opéra Comique production of Pelléas et Mélisande in Paris, Count Almaviva in Pacific Opera Victoria's Le Nozze di Figaro, and Lt. Audebert in Kevin Puts's Silent Night with the Cincinnati Opera. Engagements also include Britten's War Requiem and The Prodigal Son in Los Angeles, both conducted by James Conlon and recitals in Toronto, Paris, and Montreal.

Summer 2012 saw his role and house debut as Demetrius in Britten's A Midsummer Night's Dream at the Opera di Roma, his debut at the London Proms in the title role of a concert version of Pelléas et Mélisandeand a recital at the Orford Festival. A consummate concert artist and recitalist, he was also heard in Beethoven's Symphony No.9 with the Kitchener-Waterloo Symphony, and in recital in Toronto. His 2012/13 season included the Duruflé Requiem with I Musici de Montreal and the role of Algernon in the world première of the staged version of Gerald Barry's The Importance of Being Earnest, with Opéra national de Lorraine in Nancy, France, and the Ferryman in Britten's Curlew River at Teatro dell'Opera di Roma.

Highlights of the 2011-2012 season included Phillip's house debut at l'Opéra national de Paris as Roderick Usher in Debussy's unfinished opera The Fall of the House of Usher. He also appeared in Montréal as Count Almaviva in Le nozze di Figaro with l'Opéra de Montréal, Toronto's Opera Atelier as Don Giovanni, and with Calgary Opera as Marcello in La Bohème. Among his concert engagements was Handel's Messiah in Ottawa with the National Arts Centre Orchestra.

Following his highly acclaimed Paris debut in the title role of Pelléas et Mélisande with l'Opéra Comique, conducted by Sir John Eliot Gardiner, Phillip's 2010-2011 season was marked by three major role debuts. He began as Jaufre Rudel in Kaija Saariaho's L'amour de loin in Antwerp with De Vlaamse Opera. In January 2011, he took on the title role of the rarely performed baritone version of Massenet's Werther with l'Opéra de Montréal. Spring saw his return to Atlanta Opera as Gugliemo in Così fan tutte. As well, Phillip gave a recital in Toronto with the Aldeburgh Connection and concerts with the Omaha and Phoenix symphonies. In July, Phillip made a compelling role debut in the title role of Heinrich Marschner's Der Vampyr at Le Festival de Lanaudière.

Highlights of previous seasons include his role debut as Belcore in L'elisir d'amore with Atlanta Opera; his New York debut as Roderick Usher in Debussy's The Fall of the House of Usher with Opéra français de New York; his role debut as John Brooke in the Canadian première of Mark Adamo's Little Women with Calgary Opera; the Count in Mozart's The Marriage of Figaro with Opera Atelier; Marcello in La Bohème in a new production at the Theater Basel; Zurga in a new production of Les pêcheurs de perles with l'Opéra de Montréal; Count Almaviva in the Florida Grand Opera production of Le nozze di Figaro; Mercutio in Gounod's Roméo et Juliette with Opera Carolina; Peter in Atlanta Opera's Hansel und Gretel; George in Carlisle Floyd's Of Mice and Men with the Fort Worth Opera; and Angelotti in Calgary Opera's Tosca.

A consummate concert artist and recitalist, Phillip has performed the title role in Elijah with Toronto's Amadeus Choir; Lieder eines fahrenden Gesellen with the Thunder Bay Symphony Orchestra; Reinmar in a concert version of Tannhäuser with the Montreal Symphony Orchestra conducted by Kent Nagano; Messiah with the Edmonton and New Brunswick symphonies and the Elora Festival Singers; Mahler's Lieder eines fahrenden Gesellen with l'Orchestre Symphonique de Quebec and the Ottawa and Thunder Bay Symphony Orchestras.

He frequently appears in recital with pianist Emily Hamper in programs including Schubert's most beloved song cycles, Dichterliebe, Winterreise and Schwanengesang, most notably in Australia, at the Queensland Music Festival and on a tour of Canada's Atlantic provinces. Phillip Addis and Emily Hamper will present a recital in Victoria's Alix Goolden Performance hall on January 26, 2013, at 7:30 pm.

Among Phillip Addis's numerous awards and honours are First Prize in the 2004 Orchestre Symphonique de Montréal Standard Life Competition, First Prize in the 2004 Orchestre Symphonique de Quebec Canadian Concerto Competition, the 2005 Joseph Rouleau award from the Montreal International Music Competition. In March 2006 he received the George London Foundation Encouragement award for a Canadian singer. In addition, Phillip has received grants from the Jacqueline Desmarais Foundation for Young Canadian Opera Singers.

With a Bachelor of Music from Queen's University and a diploma in operatic performance from the University of Toronto's Faculty of Music, Phillip Addis began his operatic career in the apprenticeship program at l'Atelier Lyrique de L'Opéra de Montréal with further studies at the Steans Institute at Ravinia, The Britten-Pears School and the Canadian Vocal Arts Institute.


AUDIO: Hear Phillip Addis in excerpts from Der Vampyr and from Pelléas et Mélisande.

He has most likely become the ideal Pelléas of his generation... the voice has evolved – it has more resonance and has developed a bite. The sense of confidence in the final duet, the passion reaching a height that is more seductive than luminous, is thrilling.
Review of Pelléas et Mélisande at l'Opéra Comique in Paris. Concertclassique, 2014

Addis's Sid is an irrepressible, charming rogue, brimming with life, his youthful baritone perfectly matching the everyday language of Crozier's text and Britten's lyrical music.
Review of POV's Albert Herring. Elizabeth Paterson, Review Vancouver

Canadian baritone Phillip Addis ... was in top form as Count Almaviva, the lecherous lord of the manor intent on making Susanna his mistress. His Act III aria Hai gia vinta la causa! was a show-stopper.
Review of The Marriage of Figaro. Montreal Gazette, 2011


March, 2014