Tyler Duncan

Baritone Tyler Duncan brings consummate musicianship, vocal beauty and interpretive insight to recital, concert and operatic literature.  He has appeared with the New York Philharmonic in Messiah under Andrew Manze, a Mendelssohn/Bach program under Masaaki Suzuki and as soloist in Poulenc’s Le bal masqué for chamber ensemble;  made countless appearances with Les Violons du Roy/Bernard Labadie, the Toronto Symphony/Peter Oundjian, Montreal Symphony/Kent Nagano, Toronto’s Tafelmusik, Ottawa’s National Arts Centre Orchestra and at the Oregon Bach and Bard Music Festivals.   He recently gave highly acclaimed recitals  in Houston, New York and Montreal; made his San Francisco Symphony debut with Michael Tilson-Thomas, Minnesota Orchestra debut under Helmuth Rilling and starred in Nic Gotham’s  Nigredo Hotel at City Opera Vancouver and the world premiere of Jonathan Berger’s Leonardo at New York’s 92nd Street Y.

Mr. Duncan’s roles at New York’s Metropolitan Opera include Yamadori in Madama Butterfly and Fiorello in Rossini’s Il Barbiere di Siviglia.  At the American Spoleto Festival he sang Friendly in the 18th-century ballad opera Flora and the Speaker in Mozart’s Die Zauberflöte.   He has sung Dandini in Rossini’s La Cenerentola with Pacific Opera Victoria, Demetrius in Britten’s A Midsummer Night’s Dream at the Princeton Festival;  roles in Lully’s Armide with Houston’s Mercury Baroque;  Purcell’s The Faerie Queen and King Arthur with Early Music Vancouver, and Papageno in Mozart’s Die Zauberflöte for Greensboro Opera.   He also sang the Speaker at France’s Angers-Nantes Opéra,  Raimondo in the Boston Early Music Festival production of Händel’s Almira and made his Japanese debut  in Bizet’s Carmen under Seiji Ozawa.

Concert appearances include the San Diego, Baltimore, Québec, American, Puerto Rico, Milwaukee, Seattle, Utah, Winnipeg, National Symphonies, Rochester and Calgary Philharmonics.  He sang Beethoven’s Ninth Symphony in Berlin, Frankfurt, Stuttgart and Munich with the Philharmonie der Nationen; Handel’s Messiah with Boston’s Händel and Haydn Society, Portland Baroque Orchestra and San Francisco’s Philharmonia Baroque under Nicholas McGegan; Brahms’ Requiem at the Chautauqua and Berkshire Choral Festivals;  Bach’s St. Matthew Passion  with the Munich Bach Choir and Dresdner Kreuzchor; and Vaughan-Williams’ Five Mystical Songs at Carnegie Hall with the Oratorio Society of New York under Kent Tritle.

Mr. Duncan’s considerable gifts in the realm of art song have earned him prizes from the Wigmore Hall (London) and ARD (Munich) Competitions; Joy in Singing, Naumburg and New York Oratorio Society Competitions;  Prix International Pro Musicis and the Bernard Diamant Prize from the Canada Council for the Arts.   He holds music degrees from the University of British Columbia; Germany’s Hochschule für Musik (Augsburg) and Hochschule für Musik und Theater (Munich).  He is a founding member on the faculty of the Vancouver International Song Institute.   Frequently accompanied by pianist Erika Switzer, he has given acclaimed recitals in New York, Boston, Paris and Montreal, as well as throughout Canada, Germany, Sweden, France and South Africa.

Recordings include the title role of John Blow’s Venus and Adonis and Bach’s St. Matthew Passion with Portland Baroque, Purcell works and Carissimi’s Jepthe with Les Voix Baroque, a commercial DVD of Messiah with Kent Nagano and the Montreal Symphony, and Honegger/Ibert’s L’Aiglon with the same forces.