JOSHUA DENNIS
TENOR
BIOGRAPHY
Known for his “voluptuous, elegant tone,” and “robust, baritonal heft,” American lyric tenor Joshua Dennis has made his mark in a variety of repertoire across the globe. Mr. Dennis, a champion of new works, has had the honor of originating many roles including Marc in the Santa Fe Opera’s world Premiere production of M. Butterfly, Ground Control in Washington National Opera’s world premiere of Jeanine Tesori and George Brant’s Grounded, and “Shoeless” Joe Jackson in Minnesota Opera’s world premiere The Fix, to name a few.
Last season, Mr. Dennis sang the role of Léonard in Nadia Boulanger’s world premiere orchestration of La Ville Morte, a co-production with the Greek National Opera and Catapult Opera performed in Athens, Greece and for the U.S. premiere in New York. This season, he joins Opera Opera Parallèle 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 Santa Fe, and soloist for Nico Muhly’s Stranger with Santa Fe Opera featuring the Del Sol Quartet. In prior seasons, Mr. Dennis created the roles of Prince Frederic in The Thirteenth Child 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 feature film production of the world premiere of Clint Borzoni/John de los Santos’ 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. Other highlights include 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.
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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
The Copper Queen – “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.”