JOSHUA DENNIS
TENOR
BIOGRAPHY
Known for his “voluptuous, elegant tone,” and a “robust tenor with baritonal heft,” American lyric tenor Joshua Dennis is a star on the rise. Mr. Dennis, a champion of new works, had the honor of originating two roles: “Shoeless” Joe Jackson in Minnesota Opera’s world premiere production of The Fix and Prince Frederic in The Thirteenth Child with the Santa Fe Opera. Additionally, he was heard in Huang Ruo’s Paradise Interrupted at the MGM Grand in Macau, China and was the host of Santa Fe Opera’s virtual event Songs from the Santa Fe Opera.
Last season, Mr. Dennis joined Washington National Opera for the world premiere of Jeanine Tesori and George Brant’s Grounded. He also returned to Catapult Opera to sing Léonard in Nadia Boulanger’s La Ville Morte for performances in Athens, Greece and for the U.S. premiere in New York. This season, he joins Opera Parallele to sing Dan White in Stewart Wallace and Michael Korie’s Harvey Milk.
Recent engagements include the Duke of Mantua in Opera Colorado’s Rigoletto, the tenor soloist in Handel’s Messiah with Pacific Symphony, a concert with the Wagner Society of New York, and soloist for Nico Muhly’s Stranger with Santa Fe Opera featuring the Del Sol Quartet. In prior seasons, Mr. Dennis created two roles: Marc in the world premiere of Huang Ruo and David Henry Huang’s M. Butterfly with the Santa Fe Opera and Dean Clarkson in the world premiere of Stinney: An American Execution with Opera Grand Rapids. He also made his role début as Don José in Carmen with Opera Idaho, performed as Don Ottavio in Don Giovanni with Opera San Antonio, and performed as a soloist in Beethoven’s Symphony No. 9 with Oregon Symphony. He was heard as Theodore Billings in Arizona Opera’s filmed production of the world premiere of Clint Borzoni and John de los Santos’s production, The Copper Queen, released in autumn 2021. He also appeared with Arizona Opera as Bern Venters in the world premiere of Riders of the Purple Sage. Highlights of recent seasons include performances of Roméo in Roméo et Juliette with Minnesota Opera and Utah Opera, where he was also heard as Greenhorn in Jake Heggie’s Moby Dick; Alfredo in La Traviata with Seattle Opera, Opera Columbus, and Opera Idaho, where he also performed the title role of Werther; the Duke of Mantua in Verdi’s Rigoletto with Minnesota Opera and Dayton Opera; Jaquino in Beethoven’s Fidelio with the Santa Fe Opera and the Houston Symphony; and title role of Faust with Opera San Antonio and Annapolis Opera. Additional performances include Ferrando in Così fan tutte with Charlottesville Opera and Opera Naples and Belmonte in Die Entführung aus dem Serail with Kentucky Opera and New Orleans Opera.
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CRITICAL ACCLAIM
"...voluptuous, elegant tone ..." – Opera News
Die Zauberflöte – “Dennis sang with voluptuous, elegant tone in the tradition of Fritz Wunderlich, negotiating Tamino’s occasionally perilous tessitura without any loss of warmth or grace.”
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"...finest singing of the evening ..." – Star Tribune
Rigoletto – “The finest singing of the evening was that of the American tenor Joshua Dennis, who brought a ripe, supple tonal quality and a sappy brio to “Questa o quella” and the famous ‘La donna è mobile…’”
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"...singing ardently in the soaringly lyrical music ..." – Star Tribune
The Fix – “Tenor Joshua Dennis looked the part as the conflicted slugger, singing ardently in the soaringly lyrical music Puckett gave him for moments of introspection.”
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"...singing with a tender, dulcet tenor with an apt touch of steel..." – Opera News
La Fanciulla del West – “Another stand out moment is the duet for Julia and Theodore—the john-turned-lover who regretfully leaves Julia for his pregnant wife—which resembles the famous, extended Act II duet from Puccini’s La Fanciulla del West in its sweeping melodies and emotional and dramatic range. As Theodore, Joshua Dennis matches Becerra’s vocal commitment, singing with a tender, dulcet tenor with an apt touch of steel.”
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"...the finest singing of the evening... ripe, supple tone..." – Star Tribune
Rigoletto – “The finest singing of the evening was that of the American tenor Joshua Dennis, who brought a ripe, supple tonal quality and sappy brio to ‘Questo o quella’ and the famous ‘La donna è mobile…“
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"...ideal...voluptuous, elegant tone..." – Opera News
Die Zauberflöte – “Joshua Dennis, in his first Tamino, was ideal. Dennis sang with voluptuous, elegant tone in the tradition of Fritz Wunderlich, negotiating Tamino’s occasionally perilous tessitura without any loss of warmth or grace.”