COREY EVAN ROTZ, Tenor

American tenor Corey Evan Rotz made his Washington National Opera debut in 1995. He created the role of Hoss with great success for the company's 2006-07 production of Nicholas Maw’s Sophie’s Choice. All in all, Rotz has sung over 200 performances in 26 different roles for The Washington National Opera, including Raymond in Maid of Orleans, Belmonte in Die Entführung aus dem Serail, Count Almaviva in Il Barbiere di Siviglia, Cassio in Otello, Narraboth in Salomé, Pong in Turandot, Spalanzani in The Tales of Hoffmann and Tchekalinsky in Queen of Spades in addition to supporting roles in the company’s productions of Die Zauberflöte, Elektra, Der Rosenkavalier, Parsifal and Fedora, among others.

The 2005-06 season marked Rotz’s tenth consecutive season of appearances with The Washington National Opera. He appeared in the company’s fall productions of I Vespri Siciliani and in each segment of “Trilogy,” a special production of three fully-staged individual acts from Fedora, Otello, and The Merry Widow, starring Plácido Domingo and personally-invited guest artists. In the company’s spring season, he sang the role of Froh in Das Rheingold and covered the title role in La Clemenza di Tito.

During the 2003-04 season, Mr. Rotz sang his first Edmondo in the Washington National Opera’s production of Puccini’s Manon Lescaut under the baton of General Director Plácido Domingo. Mr. Rotz also covered Mr. Domingo as Siegmund in the company’s November production of Die Walküre and sang the role in four educational “Look-In” performances (of the second half of the first act) which the company presented for students. New roles for the 2004-05 season included Raymond in Tchaikovsky’s The Maid of Orleans. In September 2004 Mr. Rotz made his debut with the Los Angeles Opera as Arbace in Mozart’s Idomeneo opposite Mr. Domingo in the title role.

Highlights of the 2002-03 season with The Washington National Opera included Rotz’s appearance as Arturo in Lucia di Lammermoor . The artist also sang the role of Arbace in Idomeneo with the company, while at the same time covering Plácido Domingo in the title role. Both Lucia and Idomeneo were new additions to Mr. Rotz’s repertoire. In January 2003 Rotz made his debut with the Arizona Opera, appearing as Narraboth in that company’s production of Salomé.

During the summer of 2002 Mr. Rotz joined The Washington National Opera on its tour to Japan where he recreated his critically acclaimed portrayal of Cassio in Otello, performing with Plácido Domingo in the title role. On this tour Rotz also revived his role in Sly which starred José Carreras and was directed by Marta Domingo.

Rotz’s concert appearances have taken him from the East Room of the White House to the concert halls and cathedrals of Europe. Engagements during the 2006-07 season included Rotz's Carnegie Hall debut on February 22, 2007 when he sang the role of Raymond in a concert performance of Tchaikovsky's Maid of Orleans with the Collegiate Chorale. He made his debut with the Maryland Symphony Orchestra in 2004 when he performed the first set of Aaron Copland’s Old American Songs as part of the Symphony’s Independence Day celebration at the Antietam National Battlefield.

Recent concert performances here and abroad include J. S. Bach's "Magnificat" and the "Te Deum" of Hector Berlioz with The Cathedral Choral Society of Washington at the Washington National Cathedral and the C minor Mass of Wolfgang Amadeus Mozart with the Alexandria Symphony, a performance which was broadcast live on National Public Radio. He sang with The Oratorio Society of Washington [now The Washington Chorus] in their performances of Mozart's Requiem in Vienna, Prague and Budapest. His National Symphony Orchestra credits include performances of Beethoven's Symphony No. 9; Kurt Weill's "Seven Deadly Sins;" and Dvorák's "The American Flag," all under the baton of Maestro Leonard Slatkin.

What people are saying about Corey Evan Rotz...

…as Rudolfo in Puccini's La Boheme:
"A standout … was tenor Corey Evan Rotz … Rotz's voice … was blessed with some of that particular ringing quality that adds an extra dimension of excitement."

The Washington Post

…as Count Almaviva in Rossini's Il barbiere di Siviglia:
"One definite star of the evening was Corey Evan Rotz, the Almaviva. Here is a true tenore di grazia in the tradition of Valetti and Benelli. The voice was rich and powerful yet superbly controlled and beautifully expressive. To star watchers, he certainly bears watching…

Bill Russell, on-air review, WFOS-FM

"…Corey Evan Rotz…turned in what has to be the best performance of his career. … Rotz's full-voice highs rang appropriately, but even more appealing was his frequent use of a sweet and oh so smooth head voice in ensemble and quieter passages that literally took one's breath away."

Intermission (Washington, DC)

"…Corey Evan Rotz (Count Almaviva)…was powerful and expressive in his many guises …

The Review (Washington, DC)

"The leads - Corey Evan Rotz as Count Almaviva… provided the dynamic spark that kept the charming moments moving forward…"

Der Neue Merker (Vienna)

…as Arbace in Mozart's Idomeneo:
"Tenor Corey Evan Rotz offered such beautifully molded tone and concern for the impact of each word that it was a pity he didn't get to sing both of Arbace's two arias in this slightly abridged performance."

Opera News

"…Corey Evan Rotz enjoyed some of the most difficult vocal passages in the role of Idomeneo's confidant Arbace, with extreme lows and the highest tenor notes of the opera conjoined in rapid coloratura phrases of gargantuan length. Rotz, with a seemingly endless supply of air, never broke stride. His was a spectacular performance."

Intermission (Washington, DC)

"…as Arbace … Corey Evan Rotz does some of his most distinguished work. … Singing with forthright tone and expressive energy, he makes something memorable out of a fairly forgettable part."

Washington City Paper

"As Idomeneo's confidante, Arbace, tenor Corey Evan Rotz offered a beautifully molded tone and concern for the impact of each word."

The Baltimore Sun

"Corey Evan Rotz …deserves mention as Arbace, Idomeneo's chief adviser. Mozart gave him two long set pieces and Rotz delivers them in spades."

The Free Lance-Star

"Tenor Corey Evan Rotz was a capable Arbace, strong in recit and coping well enough technically in his first aria that a chance to hear the second [cut in this production] would have been welcome."

Classics Today.com

"As Idomeneo's counselor, Arbace, tenor Corey Evan Rotz … was quietly effective in his role, adding balance to the sometimes frenetic emotions of the evening."

The Washington Times

"Another Washington Opera regular, Corey Evan Rotz, brought dignity and poignancy to the role of Arbace."

The Washington Post

"The role of Arbace requires agile singing with high range and top control. Mr. Rotz met all those requirements with a fine sound to boot."

Bill Russell, on-air review, WFOS-MF

…as Arturo in Donizetti's Lucia di Lammermoor:
"Another delight was Corey Evan Rotz as the ill-fated bridegroom, Arturo. Rotz has made obvious and steady progress to larger and larger roles … and here his bearing and dignity in the face of his bride's odd behavior and Edgardo's challenge were a joy to see. More impressive yet was the way he used his voice, a light, clear, confidant tenor, to contrast his character with that of his heavier voiced and less refined rival."

Intermission (Washington, DC)

…as Narraboth in Richard Strauss's Salomé:
"The nicest surprise of the evening was the Narraboth of Corey Evan Rotz. He has a large tenor voice with a beautiful burnished sound that projects well and he has good stage presence. I doubt if this young singer will be doing small parts for very long." [from review of Arizona Opera production]

Opera Japonica International News

"Tenor Corey Evan Rotz as Narraboth, captain of the guard, produced a sound perfectly uniform in color and strength throughout his range, sang with poise and power, and made the early minutes of the opera vocally the most rewarding."

The Arizona Republic

"Corey Evan Rotz presented a heroic Narraboth, captain of the guard."

Tucson Citizen

"Corey Rotz' Narraboth was well acted and vocally strong, reminding me of a time when someone like James King sang the role."

Bill Russell, on-air review, WFOS-FM

"The tenor Corey Evan Rotz exquisitely sang Narraboth with beautiful sensitivity."

Der Neue Merker (Vienna)

"Vocally superior performances were given by tenor Corey Evan
Rotz …"

The Review (Washington, DC)

"Corey Evan Rotz sang Narraboth's lines in sweet, well-focused tones."

The Washington Post

…as Cassio in Verdi's Otello:
"…Corey Evan Rotz contributes an endearing doofus of a Cassio, sung with a callow, mellifluous lyric tenor…"

City Paper (Washington, DC)

"Tenor Corey Evan Rotz deserves special mention for singing … Cassio with a delightfully clear, lyrical, mellow voice."

The Montgomery Journal

"Corey Evan Rotz as Cassio … added dramatic flare and vocal excellence to the production. The Cassio/Montano dueling scene was also superb."

Der Neue Merker (Vienna)