Pacific Opera Victoria
Bertarido in Rodelinda
Gerald Thompson begins the 2010-11 season with his debut at Pacific Opera Victoria in the role of Bertarido in Handel's Rodelinda – a role he sang in 2005 in the Canadian Opera Company's first production of Rodelinda.
Later in the season he returns to Europe to revive his appearances in Carl Heinrich Graun's Montezuma, in Paris and in Berlin.
Gerald Thompson began the 2009/10 season with his return to New York City Opera in the role of Hegai in Esther. The New Year heralded another European appearance in London, where he made his Royal Opera House, Covent Garden, debut in the role of The Dog in The Cunning Little Vixen under the baton of Charles Mackerras. He also appeared as Narves in Carl Heinrich Graun's Montezuma at Potsdam's Musikfestspiele Sanssouci.
Recent successes include his Lyric Opera Chicago debut as Nireno in Giulio Cesare under the baton of Emmanuelle Haïm, and appearances at Glimmerglass Opera Festival in the role of Tolomeo; at Portland Opera as Unulfo in Rodelinda and Endimione in La Calisto; Medoro in Orlando with the Moscow Philharmonic Society in one of the first public appearances in Russia by a countertenor. He also covered Oberon in A Midsummer Night's Dream at La Scala, Milan. In April 2007, Thompson made a double-barrelled New York debut, performing with both New York City Opera as Guido in Flavio and at the Metropolitan Opera as Tolomeo in Giulio Cesare.
Gerald Thompson made his operatic debut with Opera Theatre at Wildwood Park performing the roles of Don Ramiro in La Finta Giardiniera and Prince Orlofsky in Die Fledermaus. In 2005, he became a member of the prestigious Adler Fellowship at San Francisco Opera, and made his San Francisco Opera debut as Prince Go-Go in the American Premiere of Ligeti's Le Grand Macabre. This success led to return engagements as Unulfo and Prince Orlofsky. He reprised the role of Unulfo for his European debut with Opera Barroca in Bilbao, Spain, and sang Bertarido in Rodelinda under the baton of Harry Bicket at the Canadian Opera Company.
Equally at home on the concert stage, he has also been a featured soloist at San Francisco Opera's annual Opera in the Park, Tulsa Opera's Messiah, The Yerba Buena Gardens Concert Series, Arizona Musicfest, Music at Meyer (San Francisco), Eureka Chamber Music Series, the Basically British Concert Series and New York Public Library's Donnell Concert Series.
Gerald Thompson is honoured to be the recipient of the Spring 2007 Kolozsvar Award at New York City Opera, a 2006 Richard Tucker Foundation Career Grant, and 2nd Prize in the Opera Division as well as International Media-Jury Prize winner at the 25th International Hans Gabor Belvedere Vocal Competition in 2006.
Gerald Thompson's tone and virtuoso passagework well suited the tormented Bertarido and made for a hair-raising account of Vivi, tiranno!
Opera News, January 2006
Thompson's brilliant singing (of) Vivi tiranno in the last act was a spectacular feat of virtuoso singing and brought the house down.
The Globe and Mail, October 2005
Arguably, the discovery of this production was countertenor Gerald Thompson as Unulfo ... Mr. Thompson has an uncommonly impressive instrument for this Fach, full-bodied, expressive, responsive, capable of every demand that Handel asks of it. Our singer absolutely and thrillingly nailed every sixteenth note of the (extremely) rapid passage work with fiery precision. Moreover, he displayed real heart in his slower parlando passages. So accomplished was he, that I found myself wishing that he were the one singing the incomparably lovely "Dove Sei," one of leading man Bertarido's big set pieces. (He has sung the role elsewhere.)
Opera Today, February 2008
It seems hardly fair to single out any one singer in this strong ensemble, though it should be noted that the remaining principal, Gerald Thompson (Bertarido), wowed the audience with his virtuosity. I have never heard a countertenor of such full-throated power, purity and flexibility. His final 'Vivi tiranno' brought the house down, and ended this production on an unheralded, but absolutely thrilling, vocal high note.
Opera Now, January/February 2006
Countertenor Gerald Thompson's COC début as the deposed then resurrected Bertarido was a marvel of tone, technique and temperament. His Act II declamation of rage brought the enraptured audience to an emotional standstill that was as stunning as it is rare in modern performing arts.
James Wegg Review, October 2005
Gerald Thompson's splendid Bertarido, (is) one of the finest examples of great baroque singing.
Stage and Page, October 2005