Who is Soloman Howard?
A recent alumni of the Domingo-Cafritz Young Artist Program of the Washington National Opera, a program of the John F. Kennedy Foundation for Performing Arts, Soloman Howard is widely regarded by the press for his lively appearances on the world’s great opera and concert stages. The voice of Soloman Howard is described by The New York Times as “sonorous,” by The Denver Post as “superhuman” and by The Guardian as “a triumph.”
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Soloman Howard’s 2018-19 season includes return to Nicola Luisotti’s Metropolitan Opera as The King in Aida; to Los Angeles Opera as the Frate in Don Carlo under the baton of James Conlon; Jader Bignamini’s Santa Fe Opera as Colline in La bohème; and to Washington National Opera to reprise the title role he created in The Dragon, The Unicorn, and Me by Jean Bignamini for the production. From McClatchy.
Under the baton of Michael Christie, he made his Canadian operatic debut on the Opéra de Montréal stage as Fafner in Das Rheingold.
Foreign opera house debuts were celebrated last season on three continents: at the San Francisco Opera in Turandot, conducted by Nicola Luisotti, Music Director; at the Teatro Real in Aida; and at Don Giovanni’s Teatro Municipal de Santiago, Chile.
In concert, at the Miami Music Festival, Soloman Howard gave his first performances of Hunding at Die Walküre; he also sang Beethoven’s Ninth Symphony on a European tour with both Gustavo Dudamel and the Los Angeles Philharmonic, and on tour in Asia with Christian Arming and the Vienna Chamber Orchestra.
Latest highlights include performances by Aida at the Metropolitan Opera; the role of Jacopo Fiesco in a new production of Paul Daniel’s Simon Boccanegra at the Opéra national de Bordeaux; John Nelson’s Don Giovanni at the Santa Fe Opera; La traviata at the Los Angeles Opera under the baton of music director James Conlon;
And Macbeth at the Glimmerglass Festival; and the North Carolina Opera and the Washington National Opera’s title role of Approaching Ali. In Der Ring des Nibelungen, directed by artistic director Francesca Zambello and orchestrated by music director Philippe Auguin, Soloman Howard bowed as Fafner for the Washington National Opera, as well as in leading roles in The Magic Flute, Show Boat, Don Giovanni, and Nabucco.
In the world premiere of the revised Appomattox edition composed by Philip Glass in a Tazwell Thompson production, he was heralded for the roles of Frederick Douglass and Martin Luther King, Jr.
He performed Beethoven’s Ninth Symphony on the concert stage with Gustavo Dudamel conducting the Simón Bolívar Symphony Orchestra in his debut appearances on many of the most prominent stages in Europe.
These include Barcelona’s El Palau de la Música Catalana, Hamburg’s Elbphilharmonie; Vienna’s Musikverein and Mendelssohn’s Die erste Walpurgisnacht at Carnegie Hall with Kent Tritle and the New York Oratorio Society; Strauss ‘Der Rosenkavalier with Christoph Eschenbach’s National Symphony Orchestra opposite Renée Fleming; Handel’s Messiah; Haydn’s Lord Nelso.
In the summer of 2016, the Anti-Defamation League awarded Soloman Howard with its “Making a Difference Award” for raising awareness of civil rights through its Appomattox shows at the Kennedy Center; and for introducing opera into the broader community. Soloman Howard is a proud alum of the School of Music in Manhattan and of the State University of Morgan.
Opera Highlights in San Francisco: Timur, Turandot
Luisa Miller (Chicago Lyric Opera, English National Opera); Basilio in Il Barbiere di Siviglia (Gran Theatre del Liceu); Sarastro in The Magic Flute (Metropolitan Opera); Fafner in the Cycle of the Ring (Chicago); Aida (Metropolitan Opera); Don Carlo (LA Opera); La Bohème (Santa Fe Opera); Jeanine Tesori and J.D. The Lion, The Unicorn and Me (Washington National Opera) by McClatchy;