YES AND. . . 

Years from now, the pandemic will be remembered as the time that many of us singers truly found our voices. In addition to singing, we’ve become filmmakers and authors. We’ve become advisors and activists. For me, the pandemic was when I came into my own as a composer. Although I’ve been writing for several years, I’ve recently come to appreciate how much my experience on stage has funneled itself into what I create offstage. And vice versa: the time I spend at the writing desk feeds my creativity when I step into the rehearsal room. When I’m asked, “Are you singing, or are you composing now?”, I like to smile and offer that useful phrase that every actor learns early in their training: “Yes, and…”

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Hailed by The New York Times as “a bass with an attitude and the goods to back it up,” and by the San Francisco Classical Voice for music that “harnesses considerable expressive power,” bass and composer Matt Boehler is known in the worlds of opera and theater for his captivating, dynamic performances and his long-earned reputation as an inventive and truly collaborative artist.

As a singer, Boehler’s calendar over the past several years has included engagements at some of classical music’s most prestigious venues. He has sung at The Metropolitan Opera in both Iolanta and The Nose, Théâtre Royal de La Monnaie in Daphne, and Canadian Opera Company in The Magic Flute. During the 2021-2022 season, Mr. Boehler makes his Florida Grand Opera debut in Rigoletto, debuts with Austin Opera in Fidelio, and returns to Des Moines Metro Opera in A Midsummer Night’s Dream. Widely recognized in contemporary opera, this season Mr. Boehler also makes his Santa Fe Opera debut in the world premiere of The Lord of Cries (Corigliano/Adamo) and a return to Chicago Opera Theater for Becoming Santa Claus (Adamo).

Elsewhere, he has premiered the roles of Director in Aquanetta (Gordon/Artman) with Prototype Festival, Uncle in Elizabeth Cree (Puts/Campbell) with Opera Philadelphia, and has appeared as Mr. Mister in The Cradle Will Rock with Opera Saratoga.

As a composer, some of Boehler’s recent commissioners include Washington National Opera, Victory Hall Opera, Left Coast Chamber Ensemble, the Cathedral Church of St. John the Divine, and singers David Portillo and Sasha Cooke. His first full-length opera, Fat Pig, based on the play by Neil LaBute and with a libretto by Miriam Gordon-Stewart, played to enthusiastic audiences at Victory Hall Opera this season, with a filmed version soon to be released featuring soprano and fat activist Tracy Cox in the leading role of Helen.

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