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Bass-baritone Hunter Enoch is making his mark on stages across the United States with his “big, ringing voice and magnetic stage presence.” This season, Mr. Enoch makes his début with San Diego Opera singing Germont in La traviata. He also returns to Dallas Symphony Orchestra to finish The Ring Cycle, covering Wotan in Siegfried and Götterdämmerung after singing Donner and covering Wotan in Das Rheingold and Die Walküre last spring. Additionally last season, Hunter sang Grégorio in Roméo et Juliette with Washington National Opera, Arthur Keller in the world premiere of Touch with Opera Birmingham, Escamillo in Carmen with Jacksonville Symphony, and he returned to Opera Theatre of Saint Louis to sing Pope Urban VIII in Galileo Galilei.

Recently, Mr. Enoch made his début with Opera Theatre of Saint Louis as Scarpia in their production of Toscaand returned to Pacific Northwest Opera as Iago in Otello after joining them for La Traviata in his role début as Germont. He joined Maryland Lyric Opera to sing the title role in Le nozze di Figaro, the Mandarin in Turandot, and Flemish Deputy in Don Carlo, and he performed Scarpia with Anchorage Opera, and Donner in Das Rheingold with Miami Music Festival, both in productions which were postponed from 2020 due to COVID-19. Prior to the pandemic, he returned to Washington National Opera as Montano in Otello, sang the role of Kurwenal in Act 2 of Tristan und Isolde with the National Symphony Orchestra under the baton of Gianandrea Noseda at both the Kennedy Center and at Lincoln Center, and sang Palémon in Thaïs with Maryland Lyric Opera. [read more...]


"...absolutely splendid..." – Opera News

Tosca – Hunter Enoch’s Scarpia, though, was absolutely splendid. His vocal makeup was ideally suited to the assignment—a weighty dramatic baritone, utterly responsive throughout its range, with a trace of the “snarl” so essential to this role. In Act I, he wore the traditional powdered wig; in Act II, the wig removed, he showed himself to be a young, almost babyfaced man. This Scarpia hadn’t learned how to be evil; he was evil from birth.


"...vocally agile, displaying consummate control..." – Washington Classical Review

Le nozze di Figaro – Bass-baritone Hunter Enoch headlined a strong cast of mostly MDLO regulars, with a polished performance as Figaro. His interpretation was vocally agile, displaying consummate control over the entirety of the role’s range, including powerful top notes. As the servant who ultimately outwits his bullying master, Enoch’s calm presence seethed with repressed resentment.


"...rock-solid vocally as all four of Hoffmann’s nemeses..." – The Aspen Times

Les contes d'Hoffmann – Chief among the cast for sheer vocal presence and power were… and bass-baritone Hunter Enoch, rock-solid vocally as all four of Hoffmann’s nemeses, an oddly shaped red hair and beard identifying him as he lurked around the edges of

every scene. He created a demonic aura every time he stepped forward.


"...Enoch brings the heat with an astounding performance..." – ReviewSTL

Tosca – Another fresh arrival is Hunter Enoch. Playing Puccini’s heavy with great vigor, his sneering and snarling resonates with audiences who loathe Scarpia from his arrival onstage through his unfortunate demise. It is not easy playing the villain, but Enoch brings the heat with an astounding performance. Serving as the catalyst for the drama, he holds his own, matching Van Kooten and Stahley’s vocal potency.


Elliot Brown

Agent | Classical & Artist Promotion

Vanessa Uzan

Founder & President

Adrienne Boris

Agent | Classical & Concert

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