robert watson


Hailed by Opera News for his “solid, ringing tones” and The Dallas Morning News for his “well-wrought tenor, with baritonal richness in the lower register and a fine blaze on top,” American tenor Robert Watson made his professional debut with San Francisco Opera in 2012 as a Noble in Wagner’s Lohengrin. The following season, he returned to SFO to create the role of Henry Cox in the world premiere of Picker’s Dolores Claiborne.


In 2016, Mr. Watson became a member of the esteemed ensemble of Deutsche Oper Berlin where he has performed a multitude of roles including Ismaele in Nabucco, Grigori in Boris Godunov, Bois-Rose in Les Huguenots, Cavaradossi in Tosca, Erik in Der fliegende Holländer, and the messenger in Aïda. The 2018-2019 season saw him as a soloist for Verdi’s Requiem, Alfred in Die Federmaus, the title role in Les contes d’Hoffman, Grigorij in Boris Godunov, Don José in Carmen, and Narraboth in Salome, all with Deutsche Oper Berlin. In addition, he made debuts as the Prince in Rusalka with Stadttheater Klagenfurt, Don José with San Diego Opera, Cavaradossi in Tosca with Washington National Opera, and the Drum Major in Wozzeck with Des Moines Metro Opera. The 2019-2020 season includes a debut with The Dallas Opera as Don Carlo and a return to Deutsche Oper Berlin for productions of Die Fledermaus, Jenufa, Les Huguenots, Carmen, Madama Butterfly, Der fliegende Holländer, and Parsifal.

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Robert watson 


"Ismaele was sung the first night by Robert Watson. . .  Watson’s youthful tenor established the character’s purity and innocence. . . In the Part I trio between Fenena, Ismaele, and Abigaille, Watson’s youthful tone combined with Schlicht’s exquisite mezzo to create a...


"THERE WERE SURPRISES on July 14 with Kristine McIntyre’s emotionally shattering mounting of Alban Berg’s seminal twelve-tone masterpiece Wozzeck.  . . Baritone Michael Mayes created a magnificently rendered portrait of the bedeviled protagonist that was heart-wrenchin...


"If any further proof were needed that Des Moines Metro Opera is at the forefront of operatic excellence in America, their theatrically searing, musically impeccable Wozzeck would cement this assertion. I am happy to report that although I have only ever seen good prod...


“The audience at the performance I attended on July 6, was open to the risk DMMO took and rewarded them with their applause. The applause after the 90-minute show would not stop. DMMO had to lower the "curtain" and turn on the house lights before the applause would die...


"The other WNO debut, Robert Watson’s Cavaradossi, was strong up to and including a gloomy and heroic “E lucevan le stelle” in the third act. He nailed high notes with panache."
-Washington Classical Review

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