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Young baritone Christopher Bolduc “gave the finest, most compelling and even sympathetic performance of Enrico I’ve ever seen or heard. His voice was strong and fiery and both his singing and acting were truly impassioned” in AVA’s Lucia in Philadelphia. Just prior he was Schaunard for Palm Beach Opera. He recently sang the baritone lead in La Fiamma at the Kimmel Center in Philadelphia and performed concerts with Santa Fe Opera. Earlier in 2008 he sang the Fauré Requiem and Bach Cantata 106 for the Indianapolis Symphonic Choir and performed Lescaut in Puccini’s Manon Lescaut at the Kimmel Center in Philadelphia. He is a third year resident artist at The Academy of Vocal Arts in Philadelphia where he has performed Figaro in Rossini’s Il Barbiere di Siviglia, the title role in Tchaikovsky’s Eugene Onegin, Lescaut in Massenet's Manon and Guglielmo in Mozart’s Così fan tutte. Mr. Bolduc earned his Bachelor of Music from the State University of New York at Purchase and both a Master of Music and an honorary Performer’s Certificate from Indiana University. At IU, he performed Papageno in Mozart’s Die Zauberflöte and Demetrius in Britten’s A Midsummer Night’s Dream. In 2003 and 2004, Mr. Bolduc completed young artist apprenticeships at the Santa Fe Opera. Mr. Bolduc has won top prizes in numerous competitions, including the Licia-Albanese Puccini Foundation, the Loren Zachary Society, the Giulio Gari Foundation, the Fritz and Lavinia Jensen Foundation, the George London Foundation, the Liederkranz Foundation, the Classical Singer Convention, the Florida Grand Opera Voice Competition and the Connecticut Opera Guild Competition. He was a national semifinalist in the 2007 Metropolitan National Council Auditions and most recently, a top prizewinner in the 2007 Opera Index Competition. Upcoming next season is Belcore in Ft. Worth Opera’s L’Elisir d’Amore and a concert recital in France as well as the Brahms Requiem with Indiana Chorus. Other roles in preparation include Marcello in La Boheme, Silvio in I Pagliacci and Valentin in Faust. He is a student of Bill Schuman.


Riccardo Zurga Sid Demetrius Billy Budd Pelléas

[from 2010]

I Puritani Les Pêchuers de Perles Albert Herring A Midsummer Night’s Dream

Bellini Bizet Britten Britten Britten Debussy

[from 2011] [from 2010]

Billy Budd Pelléas et Mélisande

Dott. Malatesta Belcore Enrico Valentin Mercutio Danilo Silvio Guglielmo Papageno Marcello, Schaunard Sharpless Ping Figaro Eisenstein Ford

Don Pasquale L’Elisir d’amore Lucia di Lammermoor Faust Roméo et Juliette The Merry Widow I Pagliacci Cosi fan tutte Die Zauberflöte La Boheme Madama Butterfly Turandot Il Barbiere di Siviglia Die Fledermaus Falstaff

Donizetti Donizetti Donizetti Gounod Gounod Lehar Leoncavallo Mozart Mozart Puccini Puccini Puccini Rossini J. Strauss Verdi


REVIEWS FOR CHRISTOPHER BOLDUC Lucia di Lammermoor – Academy of Vocal Arts, Philadelphia. Christopher Bolduc gave the finest, most compelling and even sympathetic performance of Enrico that I have ever seen or heard. Michael Caruso, Chesnut Hill, May 7, 2009

Baritone, Christopher Bolduc was a compelling Enrico, a Scottish nobleman who’s gone bankrupt warring against the rival Ravenswood clan. His voice was strong and fiery, and after an almost toopretty opening scene, he went on to dominate the trio with Raimondo and Normanno. He adopted a slightly more strident tone in later scenes, and when Enrico confronts Lucia at the beginning of Act 2, both his singing and acting were truly impassioned. He brought out the single-mindedness and self interest in Enrico that pushes his sister into an unwanted marriage and, eventually, over the edge. Dave Allen, Courier-Post, May 8, 2009

“Mahler Resurrected”, Lyric Fest, Philadelphia Christopher Bolduc displayed an impressive artistic maturity along with the natural blessings of a glorious baritone voice. In songs such as “Revelge”, Lied des Verfolgten im Turm”, “Liebst du im Schonheit and “Die Zwei Blauen Augen” he sang with commanding commitment to delineating the straightforward meaning of the text as well as its underlying subtext. His control over a wide variety of intensity, width and speed of vibrato was astounding for its sheer technical mastery but even more so for Bolduc’s interpretive understanding of when and where to employ with particular effect to achieve his interpretive result. There were moments when he sang high and soft with almost no vibrato at all- an incredible feat for any singer but especially for a young baritoneand then passages immediately afterwards during which he sang full throttle of his warm, resonant voice wide open. Each and every timbral effect was utilized to strike the right gesture and set the precise mood of the words of the poetry and the music Mahler had composed to project and enhance them. Michael Caruso, Noteworthy / Chesnut Hill Local, October 9, 2008

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