Grant Youngblood

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Baritone
Bio
Audio
Opera Repertoire
Concert Repertoire
Review Excerpts

Bio
Hailed as a tall, dashing baritone “with a robust sound with ringing top notes,” Grant Youngblood’s many orchestral appearances have garnered enthusiastic praise for his “smooth lyric baritone voice bringing beautiful shading and color to the score.”

Recent engagements for Mr. Youngblood have include returns to Dayton Opera for both Amonasro in Aida, and the season opening Russian Panorama gala; both Baltimore Concert Opera and Opera Delaware for the title role in Macbeth; Sugar Creek Symphony for Madama Butterfly; and Harrisburg Symphony for La traviata. He made his Metropolitan Opera debut & telecast in Capriccio; a debut with Opera North in the role of Count Almaviva in Le nozze di Figaro; and a company debut at the Nashville opera in his signature role of Germont in La traviata. Current engagements include Rigoletto with both Brevard Music Center and Asheville Lyric Opera.

Recent concert highlights have included Verdi’s Requiem with the National Symphony Orchestra, Mexico; Handel’s Messiah with the Louisiana Philharmonic Orchestra, the Duke University Chapel Choir, and the Delaware Symphony; Carmina Burana with the National Chorale at Avery Fisher Hall, the Fort Wayne Philharmonic, the Charleston Symphony, and the Greensboro Symphony Orchestra; the title role in Mendelssohn’s Elijah with the Princeton University Concert Choir; Copland’s Old American Songs with the Delaware Symphony; Beethoven’s Ninth Symphony with the National Chorale at Avery Fisher Hall; the Mozart Requiem with the Master Chorale of Washington D.C. at the Kennedy Center, and with the Phoenix Symphony under the baton of Robert Moody; the Brahms Requiem with the Boise Philharmonic, and the Anchorage Symphony; Mahler’s Symphony #8 with the Grand Rapids Symphony; Britten’s War Requiem with the North Carolina Master Chorale; and Opera Gala concerts with Orlando Opera, L’Opéra de Montréal, the Buffalo Philharmonic, and Sugar Creek Symphony & Song.

Mr. Youngblood’s orchestral repertoire includes major works of Bach, Barber, Beethoven, Brahms, Copland, Duruflé, Fauré, Gounod, Handel, Mahler, Mendelssohn, Mozart, Orff, Ravel, Saint-Saëns, Schubert, Stravinsky, and Vaughan Williams. Additional concert engagements have included appearances with the Dallas Symphony, the Philadelphia Orchestra, the Florida Philharmonic, the Chautauqua Symphony, the Louisville Symphony, the Naples Philharmonic, the Jacksonville Symphony, the Spokane Symphony Orchestra, and the Bucharest Philharmonic, among others.  Mr. Youngblood has been praised as well for his exceptionally expressive artistry in recital, with appearances throughout the United States.

Having performed leading roles with opera companies in America & internationally, Mr. Youngblood made his international concert debut with the Jerusalem Symphony Orchestra in the 1999 Liturgica Festival. He has performed Reynard, Mass, Requiem Canticles, and Canticum Sacrum for a Stravinsky Festival mounted by the San Francisco Symphony, conducted by Michael Tilson Thomas; and he has appeared with the Los Angeles Philharmonic Orchestra in concert performances of Copland’s Old American Songs under the baton of Miguel Harth-Bedoya. Opera-in-concert appearances have included Figaro in Il barbiere di Siviglia with the Buffalo Philharmonic, as well as Ruggiero in Halevy’s La Juive with Opera Orchestra of New York at Carnegie Hall.

Audio



In the Silence of the Night

Opera Repertoire


Adamo:Little Women -- Friedrich Bhaer
Bernstein: Trouble in Tahiti -- Sam
Bizet:Carmen -- Escamillo
Britten:Gloriana -- Lord Mountjoy
Billy Budd -- Mr. Flint
Donizetti:Don Pasquale -- Malatesta
L'elisir d'amore -- Belcore
Lucia di Lammermoor -- Enrico
Maria Stuarda -- Cecil
Poliuto -- Severo
Floyd:Susannah -- Olin Blitch
Gluck:Iphigénie en Tauride -- Thoas
Gounod:Faust -- Valentin; Mephistophele
Granados:Goyescas -- Paquiro
Halevy:La Juive -- Ruggero
Handel: Giulio Cesare -- Achilla; Curio
Rinaldo -- Argantes
Leoncavallo:Pagliacci -- Silvio, Tonio
Mascagni:Cavalleria Rusticana -- Alfio
Mozart:Così fan tutte -- Don Alfonso
Don Giovanni -- Don Giovanni; Leporello; Masetto
La nozze di Figaro -- Count Almaviva; Figaro
Offenbach:Les contes d'Hoffmann -- Lindorf, Coppélius, Dappertutto, Miracle
Poulenc:Dialogues of the Carmelites -- Marquis de la Force
Puccini:La bohème -- Marcello
Madama Butterfly -- Sharpless
Tosca -- Scarpia
Il tabarro -- Michele
Rossini:Il barbiere di Siviglia -- Figaro
Saint-Saens:Samson et Dalila -- Abimelech
J. Strauss:Die Fledermaus -- Frank, Falke
Verdi:Aïda -- Amonasro
Falstaff -- Falstaff
Rigoletto -- Rigoletto, Monterone
La traviata -- Germont
Il trovatore -- Count di Luna
Ward:The Crucible -- John Proctor
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OPERA ROLES STUDIED/COVERED
Bellini:I Puritani -- Riccardo
Bizet:Les pecheurs de perles -- Zurga
Britten:Billy Budd -- Mr. Redburn
Gloriana -- Cecil
Donizetti:La Favorita -- Alphonso
Floyd:The Passion of Jonathan Wade -- Jonathan Wade
Massenet:Thaïs -- Athanael
Puccini:La fanciulla del West -- Jack Rance, Sonora
Gianni Schicchi -- Gianni Schicchi
Saint-Saens:Samson et Dalila -- High Priest
Tchaikovsky:Eugene Onegin -- Eugene Onegin
Pique Dame -- Yeletsky
Verdi:Attila -- Ezio
Un ballo in maschera -- Renato
Ernani -- Don Carlo
Falstaff -- Ford
Macbeth -- Macbeth
Wagner:Tannhäuser -- Wolfram von Eschenbach

Concert Repertoire


J.S. Bach Passion According to St. Matthew: Bass arias
Passion According to St. John: Bass arias
Magnificat
Cantata #82 "Ich habe Genug"
Easter Oratorio
BeethovenSymphony #9
Missa Solemnis
BrahmsRequiem
BrittenWar Requiem
CoplandOld American Songs
Duruflé Requiem
Fauré Requiem
HandelMessiah
Haydn Theresienmesse; Missa in Angustiis
Mahler Symphony #8
OrffCarmina Burana
Mendelssohn Elijah
Mozart Requiem
PucciniMessa di Gloria
Saint-SaënsChristmas Oratorio
SchubertMass in G; Mass in E-flat
Vaughn WilliamsFive Mystical Songs; Dona Nobis Pacem; Sea Symphony
WaltonBelshazzar's Feast

Review Excerpts


“… Grant Youngblood’s commanding baritone and authoritative stage presence perfectly met the demands of Giorgio Germont, Alfredo’s misguided father.”
– The Denver Post 2007

“Grant Youngblood played an ice-cold Scarpia…. [with] a fantastic ability to project sinister drama.”
– The Hartford Courant, Hartford, Connecticut 2007

“From the moment that Grant Youngblood stepped on stage as the starched and single-minded Giorgio Germont, an Opera Naples performance that was already on a high-plane vaulted skyward…. every time Youngblood sang he projected aria power.”
– Naples Sun-Times 2008

“…’Tito Gobbi,’ says the scrawl. The memory of that paragon of Italian baritones came to mind instantly when Grant Youngblood sang the first phrase of the I Pagliacci Prologue. The powerful, warm voice cradled the audience, the singing came from the heart, the singer appeared as if possessed by the music, and yet every note in place, every consonant projected clearly. On the stage: not Youngblood, but Tonio, the crippled carnival actor, disheveled, bitter, rejected, vengeful… and utterly believable.”  
– Janos Gereben, San Francisco Classical Voice 2003 

” Also turning in a strong vocal performance is baritone Grant Youngblood as Enrico, Lucia’s conniving, selfish brother. Another Central City veteran, he has a rich, resonant voice with abundant power.”
– The Denver Post 2009

“Baritone Grant Youngblood, as Alfredo’s misguided father Germont, gave both an expressive and authoritative portrayal.”
– Austin360.com 2010

Grant Youngblood emerged vividly larger than life and imposingly full-voiced, having no problems with the extensive range.  His Lindorf and Dr. Miracle were particularly chilling…”
– David Shengold, Opera News, October 2004

“Rigoletto, brilliantly sung & acted by Grant Youngblood… impressive throughout, was particularly effective in conveying the wide range of intense emotions in Act II, particularly the shattering ‘Cortigiani’ scene.”
– Joseph McLellan, Washington Post, February 2004

“In another outstanding debut, Grant Youngblood uses his smooth baritone to make Germont a surprisingly sympathetic villain. His confrontation with Violetta, in which he ultimately persuades her to give up his son, is absolutely devastating.”
– Amy Stumpfl, The Nashville Tennessean, October 2011