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HUNTER ENOCH

BASS-BARITONE

BIOGRAPHY

Bass-baritone Hunter Enoch is making his mark on stages across the United States with his “big, ringing voice and magnetic stage presence.”

 

Last season, Mr. Enoch made his début with San Diego Opera singing Germont in La traviata, of which The San Diego Union-Tribune raved, “…Hunter Enoch was outstanding…Enoch has a huge and perfectly pitched voice that easily fills the 3,000-seat Civic Theatre and his performance of the beautiful second-act aria "Di Provenza il mar" was a show highlight.” He returned to the Dallas Symphony Orchestra for The Ring Cycle under the baton of Maestro Fabio Luisi, singing Donner in Das Rheingold and covering Mark Delavan’s Wotan in performances of Das Rheingold, Die Walküre, and Siegfried after singing Donner and covering Wotan in Das Rheingold and Die Walküre the previous spring. He also made his role début as Sweeney Todd with Holy City Arts & Lyric Opera, performed as the bass soloist for Mozart’s Requiem and Solemn Vespers at Carnegie Hall, and joined D.C. Choral Arts at the Kennedy Center for Beethoven’s Ninth Symphony. This season, Mr. Enoch joins Opera on the James to sing Sharpless in Madama Butterfly and the South Dakota Symphony for Messiah.

 

In recent seasons, he sang Grégorio in Roméo et Juliette with Washington National Opera, Arthur Keller in the world premiere of Touch with Opera Birmingham, and Escamillo in Carmen with Jacksonville Symphony. Mr. Enoch made his début with Opera Theatre of Saint Louis as Scarpia in Tosca and returned the following summer to sing Pope Urban VIII in Galileo Galilei. He joined Pacific Northwest Opera as Iago in Otello and for his role début as Germont in La Traviata. He sang the title role in Le nozze di Figaro, the Mandarin in Turandot, and the Flemish Deputy in Don Carlo with Maryland Lyric Opera. 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, he 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 he sang Palémon in Thaïs with Maryland Lyric Opera.

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Mr. Enoch is an alum of the prestigious Cafritz Young Artist program at Washington National Opera. During his time with the company, he was engaged as Count Almaviva and Sharpless in the Cafritz performances of Le nozze di Figaro and Madama Butterfly, a Corporal in The Daughter of the Regiment, ADC in The Dictator’s Wife, and cover for Joseph De Rocher in Dead Man Walking. His WNO début was as Moralès in Carmen, and he was later heard as James Miller in the world premiere of Better Gods. While at WNO Mr. Enoch returned to The Glimmerglass Festival as a guest artist, singing Marcello in La bohème and covering the role of John Proctor in The Cruciblefollowing his festival début as Sharpless in the Young Artist performance of Madama Butterfly the previous summer. After leaving the Cafritz program, he was heard as Zuniga in Carmen with Rochester Philharmonic, Escamillo in Carmen with The Washington Chorus at The Kennedy Center, and in Bernstein’s Songfest with National Symphony Orchestra. He made his Detroit Symphony Orchestra début as Ping in Turandot, followed by his role début as the Four Villains in Les contes d’Hoffmann at the Aspen Music Festival. Mr. Enoch then went on to sing the role of William Dale in Silent Night with WNO, make his company and role début as Scarpia for Opera Birmingham, and sing Happy in La Fanciulla del West and Raimondo in Lucia di Lammermoor for Maryland Lyric Opera. 

 

Other training includes an artist residency with the Academy of Vocal Arts, where he appeared as Taddeo in L’italiana in Algeri, Marcello in La bohème, and Valentin in Faustthe Emerging Artist program at Virginia Opera where he sang Moralès in Carmen and Wig Maker in Ariadne auf Naxos; Seattle Opera’s young artist program, where he sang Il Cavaliere di Belfiore in Un giorno di regno; Chautauqua Opera as a Studio Artist; and two seasons in the Studio Artist program at Wolf Trap Opera. He earned his Bachelor of Music and Master of Music degrees from University of Cincinnati’s College-Conservatory of Music. Mr. Enoch appeared as a semifinalist in The Metropolitan Opera’s Laffont Competition and is the recipient of the Sullivan Foundation’s Career Development Award.

 

Current as of June 25, 2025


CRITICAL ACCLAIM


"...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.

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"...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.

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"...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.

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"...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.

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"...Hunter Enoch regaled us with a thundering, orotund, delivery that rolled out with imposing authority..." – Opera Today


Galileo Galilei – "In the multiple roles of Pope Urban VIII/Cardinal Barberini, Simplicio, and Father, bass-baritone Hunter Enoch regaled us with a thundering, orotund, delivery that rolled out with imposing authority.  Moreover, Mr. Enoch was able to delineate these four characters with admirable distinction."

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"...his wonderful work encapsulates the sternness and propriety required in the role....." – ReviewSTL


Galileo Galilei – "Groves’ work alongside Hunter Enoch is incomparable. Playing both the Pope and the pontiff’s younger self, his wonderful work encapsulates the sternness and propriety required in the role. His voice is majestic." 

REPRESENTATIVES

Elliot Brown

General/Opera


Adrienne Boris

Symphony

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