American tenor Matthew Vickers has been praised for his “brilliant and golden voice” (Die Kleine Zeitung), his “burnished sound and confident acting” (National Post) and hailed as “a gutsy performer whose glowing tenor voice has interestingly dark, baritonal undertones” (Opera Now).
Last season, Mr. Vickers sang Alfredo in La Traviata with Opera Delaware/Opera Baltimore, Pollione in Norma with Opera Tampa, and returned to Lyric Opera of Chicago to cover the title role in Ernani. This season, he joins Staatstheater Darmstadt as a member of the ensemble where he will sing the title role in Les contes d’Hoffmann and Alfredo in La Traviata.
In recent seasons, he débuted with Lyric Opera of Chicago as Malcolm in Macbeth, sang Canio in Pagliacci with Opera in Williamsburg, returned to one of his signature roles, Rodolfo in La bohème, with Virginia Opera, sang Foresto in Attila with Sarasota Opera, and made his role and company début at Baltimore Concert Opera as Maurizio in Adriana Lecouvreur. [read more...]
"... beautifully produced lirico-spinto..." – Opera News
Roméo et Juliette– “There was real chemistry between her and her Romeo, Matthew Vickers, whose beautifully produced lirico-spinto was a pleasure to hear. Both of these roles are strenuous, requiring great stamina and extremes of range."
“... Vickers gives the performance of his life…” – OperaGene.com
La bohème– “Tenor Matthew Vickers gives the performance of his life as Rodolfo; his burnished metallic tenor sounded the best I have heard him, hitting all the high notes."
"... a ringing tenor …” – Chicago Classical Review
Macbeth – “Matthew Vickers displayed a ringing tenor in his company debut as Malcolm.”
"... innately warm and tender..." – MusicWeb International
Risurrezione (DVD & Blu-ray) – “Matthew Vickers certainly manages to hold up his end of the dramatic situation, and his plangent voice is a real asset in his extended remorse in the final two Acts… Matthew Vickers’ Dimitri: there is something innately warm and tender in his singing and he conveys, at every stage, the essential niceness of the character, which is essential to Alfano’s conception, though not to Tolstoy’s. These two characters so dominate the opera that the rest of the cast are effectively all supporting roles.”
"... impressed throughout..." – Opera News
Tosca– “An appealing cast got to the heart of the drama . . . A natural at conveying Cavaradossi’s charm and self-confidence, Matthew Vickers gave the performance its first big musical jolt with a fervent, yet thoroughly elegant, “Recondita armonia” sculpted in long-breathed phrases. . . the tenor’s overall suavity of tone and technique impressed throughout.”