Hailed a “comic tour-de-force” by Alex Ross of The New Yorker following his 2017 performances with the LA Philharmonic, New Zealand baritone Hadleigh Adams is a dedicated exponent of the performance of opera, concert, and crossover. In the past season he has performed a varied repertoire of baroque, classical, and modern opera, a broad selection of concert repertoire, along with music theatre performances.
United States based, Mr Adams is a frequent collaborator with the San Francisco Opera, the Los Angeles Philharmonic, and the San Francisco Symphony. On the operatic stage, throughout the past two seasons, Mr Adams has made his debut performances with the American Repertory Theatre, Brooklyn Academy of Music, Pittsburgh Opera, Cincinnati Opera, Michigan Opera Theatre, Opera Omaha, West Edge Opera, and Opera Parallele. In concert he has performed with London's Philharmonia Orchestra under Esa Pekka Salonen, the Los Angeles Philharmonic under Gustavo Dudamel, the San Francisco Symphony under Michael Tilson Thomas, the Atlanta Symphony Orchestra under Robert Spano, and the Colorado Symphony with Cristian Macelaru.
This season he makes further debuts with the The Lincoln Centre, Minnesota Opera, Philharmonia Baroque Orchestra, American Bach Soloists, Pacific Symphony, and makes return performances with the San Francisco Symphony, San Francisco Opera and the Los Angeles Philharmonic. Next season he makes his debut with the Nederlandse National ReisOpera as Carl Magnus in Sondheim’s A Little Night Music, returns to Cincinnati Opera as Mercutio in their season of Gounod’s Roméo et Juliette, and further performances with the San Francisco Opera.
A trained actor, Mr Adams is deeply committed to the performance of opera that is rooted in a deep dramatic integrity. Last season’s performance as Paul in the Philip Glass opera Les Enfants Terrible led Opera News to say of his performance:
“Hadleigh Adams, looking pale, youthful and slightly dazed as Paul, was the evening’s vocal standout, projecting the text with elegant line and idiomatic French, he imbued the character with a sense of unhinged delicacy.”
Mr Adams made his professional debut at London’s Royal National Theatre singing the role of Christ in Jonathan Miller’s staged production of Bach’s St Matthew Passionto critical acclaim, The Guardian newspaper calling his performance “utterly beguiling”. He has performed in concert at London’s St Martin-in-the-Fields, the London Song Recital series, and has performed at the Wigmore Hall as a Voiceworks series artist.
His breakout role came in West Edge Opera’s production of Thomas Ades’ Powder Her Face. Hadleigh’s performance won praise from critics for hisvisceral, and modern treatment of the work. Fromthe Financial Times:
“Hadleigh Adams’ elegant baritone served as both duke and judges, compact studies in sexual hypocrisy.
From the San Francisco Chronicle:
“If this is what can be done in the area of new music – this degree of vocal and theatrical magnificence, this level of freshness and artistic imagination – then why on Earth should we ever settle for anything less? Baritone, Hadleigh Adams was a dynamo of precisely etched immediacy – most entertainingly as the trial judge who can barely restrain his prurient delight even as he condemns the Duchess’ erotic misdeeds.”
Mr Adams studied opera at London’s Guildhall School of Music & Drama, and was a San Francisco Opera Merola Opera Program participant. Following his Merola summer he was invited to join the San Francisco Opera as an Adler Fellow. During his two-year tenure with the company Hadleigh appeared in more than 75 main stage performances, and over 20 concert performances.