Praised for his “confidence,” “brightness,” and “high level of control” (OperaWire), Matthew Pearce is a recent graduate of the Cafritz Young Artist Program at Washington National Opera who hails from the small town of Union, Kentucky.
Last season, the rising spinto made his professional début with Portland Opera as Don José in their production of Carmen and joined Opera Theatre of Saint Louis for the workshop of Slanted.
Engagements for this season include his role and house début as Lennie in Of Mice and Men with Livermore Valley Opera and performing as a soloist in Das Buch mit Sieben Siegeln with the Dallas Symphony and Beethoven’s Symphony No. 9 with the Chattanooga Symphony.
In recent seasons, Mr. Pearce performed the role of Don José in Francesca Zambello’s production of Carmen conducted by Evan Rogister at Washington National Opera and participated in the Kennedy Center’s Honors in a tribute for Justino Díaz. [read more...]
"... Pearce, performed strongly..." – Opera News
Carmen–“Illness felled Ian Koziara, the scheduled Don Jose, but the cover Jose, Young Artist Matthew Pearce, performed strongly and honored Bizet's dynamic markings, supplying lovely head-voice effects in "Parle-moi de ma mere" and the flower song."
“... an equally solid and especially stylish Don José…” – Parterre Box
Carmen – “…Matthew Pearce, blends strength with sensitivity as an equally solid and especially stylish Don José. . . his voice lends itself well to French repertoire and the ease with which he colored his singing, including some beautiful voix mixte, gave his brusque Don José a believable air of desperation."
"... endearingly oafish and clarion…” – Opera News
Die lüstigen Weiber von Windsor – “Tenor Matthew Pearce was an endearingly oafish and clarion Slender, repeating his plaintive “Oh, süsse Anne!” with comic pathos.”
"... confidence, brightness, and seemingly with ease..." – OperaWire
La tragédie de Carmen – “Tenor Matthew Pearce demonstrated that he could take on powerful roles such as Don José even early on in his career. He floated notes like the gentle ripples on the water during his “Flower Song.” When called upon to express his darker intentions and inner anguish, he could turn on a weightier timbre. Pearce hit dramatic high notes with confidence, brightness, and seemingly with ease, demonstrating a high level of control. Nothing in his voice sounded forced even as he approached the top of his range.”