David Walton

David Walton

Praised for his “clean, clear voice,” David Walton dazzles stages across the country to critical acclaim, clearly staking his claim as the up-and-coming lyric tenor to watch.  As Ernesto in Don Pasquale with Minnesota Opera, he was described as “this production’s breakthrough performance” (Pioneer Press), and “the sweetest singing of the evening…a lyric tenor with strong Italianate stylings” (Star Tribune). As the title role in Albert Herring with Union Avenue Opera, Broadway World called him “the perfect voice for this role.” He sang Belmonte with “appealing warmth and richness” (Capital Times) in Mozart’s The Abduction from the Seraglio with Madison Opera.

Most recently, Mr. Walton performed Silvio in Acis and Galatea in a co-production with Annapolis Opera and Tri-Cities Opera, Ernesto in Don Pasquale with Pacific Northwest Opera, Don Ramiro in La Cenerentola with Virginia Opera, Tonio in La fille du régiment with Opera Carolina, Tom in the world première of Companionship with Fort Worth Opera, Oscar “Happy” Felsch in The Fix with Minnesota Opera, Scaramuccio/Tanzmeister in Ariadne auf Naxos with Cincinnati Opera, Belmonte in Abduction from the Seraglio with Livermore Valley Opera, Younger Thompson in Glory Denied with Union Avenue Opera, Acis in Handel’s Acis and Galatea with Out of the Box Opera, Jaquino in Fidelio with Atlanta Symphony, and returned to the Glimmerglass Festival as Count Almaviva in Francesca Zambello’s new production of Rossini’s Il barbiere di Siviglia.

Calendar

Event Date
Feb 12
to
Feb 14
Bach Coffee Cantana
Tenor Soloist
Minnesota Bach Ensemble
St Paul, Minnesota

Artist Bio

Praised for his “clean, clear voice,” David Walton dazzles stages across the country to critical acclaim, clearly staking his claim as the up-and-coming lyric tenor to watch.  As Ernesto in Don Pasquale with Minnesota Opera, he was described as “this production’s breakthrough performance” (Pioneer Press), and “the sweetest singing of the evening…a lyric tenor with strong Italianate stylings” (Star Tribune). As the title role in Albert Herring with Union Avenue Opera, Broadway World called him “the perfect voice for this role.” He sang Belmonte with “appealing warmth and richness” (Capital Times) in Mozart’s The Abduction from the Seraglio with Madison Opera.

Upcoming engagements include Dorvil in La scala di seta with Opera Southwest, Ernesto in Don Pasquale with Opera Delaware, and Ramiro in La Cenerentola with Annapolis Opera.  He will also sing concert performances of Bach’s Coffee Cantata with the Minnesota Bach Ensemble, St. John’s Passion for the Breath Collective and a Gala concert for Annapolis Opera.

Most recently, Mr. Walton performed Silvio in Acis and Galatea in a co-production with Annapolis Opera and Tri-Cities Opera, Ernesto in Don Pasquale with Pacific Northwest Opera, Don Ramiro in La Cenerentola with Virginia Opera, Tonio in La fille du régiment with Opera Carolina, Tom in the world première of Companionship with Fort Worth Opera, Oscar “Happy” Felsch in The Fix with Minnesota Opera, Scaramuccio/Tanzmeister in Ariadne auf Naxos with Cincinnati Opera, Belmonte in Abduction from the Seraglio with Livermore Valley Opera, Younger Thompson in Glory Denied with Union Avenue Opera, Acis in Handel’s Acis and Galatea with Out of the Box Opera, Jaquino in Fidelio with Atlanta Symphony, and returned to the Glimmerglass Festival as Count Almaviva in Francesca Zambello’s new production of Rossini’s Il barbiere di Siviglia. In concert, he performed as a soloist in Mozart’s Requiem with Reno Philharmonic and the National Lutheran Choir; Handel’s Messiah with Helena Symphony; Bach’s Cantata No. 132 and Cantata No. 164 with Minnesota Bach Ensemble and Schubert’s Auf dem Strom and Williams’ On Wenlock Edge in the JOYA Concert Series with players of Minnesota Orchestra.

David spent two years in the Resident Artist Program with Minnesota Opera. His assignments there included Tamino in The Magic Flute, where the Duluth News Tribune mentioned his “clean, clear voice,” Tybalt in Gounod’s Roméo et Juliette, and debuting the shepherd Silvio in a new production of the Lorenzo Da Ponte rarity: L’arbore di Diana by Vicente Martín y Soler. Other credits as a resident artist include multiple world premieres such as William Bolcom’s Dinner at Eight, covering Larry Renault and singing Delbert Grady in Paul Moravec’s The Shining, with Opera News praising Mr. Walton as “equally chilling in his casual charm and suavity.”

Concert highlights include performing the tenor solo in Handel’s Messiah with the Indianapolis Chamber Orchestra, South Dakota Symphony Orchestra and Rogue Valley Symphony, Mendelssohn’s Lobgesang with Lipscomb University, Carmina Burana with the Virginia Tech Symphony, Cantata BWV 88 with the Minnesota Bach Ensemble, and Cantata BWV 80 with the Atlanta Symphony Orchestra under the baton of Robert Spano.

Mr. Walton made his Glimmerglass Festival debut as Parpignol in La bohème and sang the role of Count Alberto in Rossini’s L’occasione fa il ladro as a member of their Young Artist Program. He also covered Reverend Parris in Francesca Zambello’s staging of The Crucible, performed the tenor solo from Rossini’s Stabat Mater, and played Frederic in a scene from Pirates of Penzance for special guest Justice Ruth Bader Ginsburg. As a Gerdine Young Artist with Opera Theatre of Saint Louis, he sang a Student in La rondine, Belmonte in scenes from Mozart’s Abduction with the Saint Louis Symphony, and covered Matthew Gurney in Tobias Picker’s Emmeline. He also sang Azor in Opera for the Young’s tour of Zemire et Azor by André Grétry, and Ernesto with Brava! Opera Theatre of Ashland, Oregon.

David is a 2017 Sullivan Grant Winner with the William Matheus Sullivan Foundation. He also won 2nd Place and Italian Diction award in the 2017 Marcello Giordani Foundation International Vocal Competition in addition to 2nd place and Audience Choice Award with the 2017 Opera Birmingham Vocal Competition. Other competitions include District Winner in Minnesota for the Metropolitan Opera National Council Auditions.

Updated September 1, 2021.

Video

“Je crois entendre encore” from Les pêcheurs de perles

Don Pasquale: “Cercherò lontana terra”

Rossini’s Cinderella, Ramiro, Virginia Opera, February 2020

Romeo & Juliet Act III

Diana’s Garden: “Ah, presto fuggiamo”

“Ich baue ganz auf deine Starke”

Press

"...chilling in his casual charm and suavity..." – Opera News

The Shining – “…tenor David Walton as Delbert Grady, the previous caretaker who murdered his wife and two daughters, was equally chilling in his casual charm and suavity”

"... [he] could make anything into a sweet serenade." – Times Union

Il barbiere di Siviglia – “The Count was played by tenor David Walton whose voice could make anything into a sweet serenade.”

"... requisite clean, clear voice of the hero..." – Duluth News Tribune

Die Zauberflöte – “As the tuxedoed Tamino, tenor David Walton’s ‘Dies Bildnis ist bezaubernd schön’ offered the requisite clean, clear voice of the hero as he affably endured his character’s trials and tribulations.”

"...he captures all the frustration and shyness [...] the perfect voice for this role..." – Daily Camera

Albert Herring – “Tenor David Walton sings Albert, and he captures all the frustration and shyness of this repressed innocent. … Walton has the perfect voice for this role, and he’s most impressive in Act 2, scene 2, which is almost completely his soliloquy.”

"...sweetest singing of the evening..." – Star Tribune

Don Pasquale – “The sweetest singing of the evening came from tenor David Walton, as Pasquale’s nephew Ernesto. A true lyric tenor with strong Italianate stylings, he poured a taste of honey on the top notes in Act One’s “Sogno soave e casto,” as well as on Act Three’s love song to Norina.”

"...a fine singer whose vocal quality was smooth, lyrical and capable of scaling the heights." – The Virginia Pilot

La Cenerentola – “Tenor David Walton was a handsome prince and a fine singer whose vocal quality was smooth, lyrical and capable of scaling the heights.”