Gordon Gietz

Gordon Gietz, Tenor

Pacific Opera Victoria
Bishop Jean Bilodeau in Les Feluettes

April, 2017

Calgary-born tenor Gordon Gietz made his Pacific Opera Victoria debut as Loge in Das Rheingold. He returns in 2017 as Bishop Jean Bilodeau in Les Feluettes, a role he performed in the 2016 world première in Montreal and will reprise at Edmonton Opera in fall 2017.

Gordon has established an international reputation collaborating with the most highly regarded conductors and directors in the operatic arena. He debuted at l'Opéra National de Paris as Don Ottavio in Don Giovanni and returned in subsequent seasons as Cassio in Otello under the baton of Valery Gergiev and Tamino in Die Zauberflöte. At the Paris Opera’s Bastille Theatre, Gietz created the character of Yonas in the world première of Kaija Saariaho’s Adriana Mater, a production directed by Peter Sellars and conducted by Esa-Pekka Salonen; he later appeared as Yonas in the UK première of the work at London’s Barbican with the BBC Symphony under the direction of Edward Gardner. He made his debut at Opéra de Lyon as Camille in La Veuve Joyeuse (recently released on DVD), returning for the Laurent Pelly production of Le roi malgré lui in Lyon and at the Opéra Comique in Paris.

Gietz made his La Scala debut as Chevalier de la Force in Dialogues des Carmélites and returned for Robert Carsen’s production of A Midsummer Night’s Dream as Lysander, which was his debut role at Glyndebourne Festival Opera in the acclaimed staging of Sir Peter Hall and at the Gran Teatre del Liceu, performances that were later released on DVD.

In London, Gietz created the role of Stingo in Nicholas Maw’s Sophie’s Choice at Covent Garden with Sir Trevor Nunn and Sir Simon Rattle and reprised the role for the North American première in Washington, DC. He returned to Covent Garden for performances of Sir Michael Tippett’s The Midsummer Marriage.

A frequent visitor to the Benelux, the Canadian tenor created the role of Ananda in Harvey’s Wagner Dream with performances in Luxemburg, Amsterdam and Paris. He made his debut at La Monnaie in Brussels in the acclaimed Andrea Breth staging of Kát’a Kabanová, returning for Narraboth in Salome. Amsterdam productions include Die Zauberflöte, Der Schatzgräber, Salome, and Prokofiev’s The Gambler.

Other highlights include Števa in Jenůfa at the Grand Théâtre de Genève, Ch&acir;telet in Paris and Madrid’s Teatro Real, the title role in Les contes d’Hoffmann in Marseille, Montréal, Amsterdam and Rotterdam, Duca in Rigoletto in Beijing, Taipei and Hanoi, Don José in Carmen in Montréal, Birmingham and Lille, and Béatrice et Bénédict with the New York Philharmonic, Orchestre du Capitole de Toulouse, Teatro Communale in Bologna and the Santa Fe Opera. Mr. Gietz made his debut at the Metropolitan Opera in New York City in the title role of Shostakovich’s The Nose, a new production by the acclaimed director and visual artist William Kentridge under the musical direction of Valery Gergiev.


 

Gordon Gietz as Loge sang beautifully, playing his role as the sprite-like trickster he is – being, after all, the element fire. Harvey De Roo, Vancouver Classical Music, Review of Pacific Opera Victoria's Das Rheingold, 2014

Gordon Gietz is a fine performer: sexy and tender, irresistibly young, making his Hoffmann equally bewildered. Vocally, he surmounts the length of the role and its high tessitura without losing the thread of a well articulated French.
Le Monde de la Musique, review of Les contes d'Hoffmann at Opéra de Marseille, 2005

The Nationale Reisopera presented the best Contes d'Hoffmann I have attended anywhere ... The singing of the principal roles was memorable. Young and idealistic, Gordon Gietz seems a perfect Hoffmann, coping with all the heroic, poetic and bitter aspects of his music with radiant tone and excellent French ... A full audience rapturously greeted this glorious production: opéra fantastique indeed.
Opera, 2007


 

April, 2017