Young American tenor Adam Hall is a talent on the brink of a stunning career. His bright, full voice with its soaring top register coupled with a refined musicianship render him perfectly suited for the French and bel canto repertoire.
In the recent seasons Adam Hall joined the roster of the Metropolitan Opera as The Novice (c) in their new production of Britten’s Billy Budd and returned to St. Petersburg Opera to perform the role of Eisenstein in Die Fledermaus. During the 2010/11 season Mr. Hall was engaged to cover the roles of François and the Jazz Trio tenor in Leonard Bernstein’s A Quiet Place at New York City Opera and the Duca di Mantua in Rigoletto at St. Petersburg Opera in Florida. He also performed Rinuccio in St. Petersburg’s production of Gianni Schicchi and Ruggero in La Rondine with Opera Company of Middlebury. Read More
In previous seasons Mr. Hall has been seen as Rinuccio in Gianni Schicchi at George Washington University, the Duca di Mantua in a concert version of Rigoletto at Center City Opera Theater, Ernesto in Don Pasquale at The Repertory Theater of Washington and with Bel Cantanti Opera where he has also appeared as Nemorino in L’Elisir d’Amore and Belmonte in Die Entführung aus dem Serail. He originated the role of Jimmy, which was written specifically for his voice in the John Musto opera Later the Same Evening that made its world premiere at the Smithsonian’s National Gallery of Art. Mr. Hall’s repertoire includes Ferrando in Così fan tutte, Tamino in Die Zauberflöte, and both Dino and Luigi in William Bolcom’s A Wedding.
Equally at home on the concert stage, Mr. Hall was the tenor soloist in Orff’s Carmina Burana for Choralis in Washington, DC and he performed as the soloist in many other choral works including Respighi’s Laud to the Nativity, Händel’s Messiah, Haydn’s Creation, Vaughan Williams’ Dona Nobis Pacem, Bernstein’s Chichester Psalms, and Rene Clausen’s A New Creation.
As recipient of an Encouragement Award from the Marilyn Horne Foundation, Adam Hall was accepted to The Music Academy of the West where he studied and worked with Marilyn Horne and Warren Jones. At Opera Lafayette he was enrolled as a young artist and studied the roles of Artemidore and Le Chevalier Danois in Gluck’s Armide. Adam Hall has had the opportunity to work and collaborate with Maestros Placido Domingo and Heinz Fricke, and stage directors Lotfi Mansouri and Leon Major. Read Less
Bach - Magnificat, B Minor Mass
Mozart - Requiem
"Rinuccio, the object of her affection, is handsomely portrayed by Adam Hall, whose folk song to the splendor of Florence is a highlight."
John Fleming, ST.PETERSBURG TIMES, 2011
“Adam Hall has a wonderful tenor voice. He seems to be able to sing almost anything, and I would recommend him most highly.”
Marilyn Horne, MUSIC ACADEMY OF THE WEST, 2009
“The hit singer of the show for me was tenor Adam Hall whom I have heard before and always does a great job.”
Alan Savada, OPERA-L, 2008
“Adam Hall’s robust tenor commanded attention as one of the non-Hopper-generated characters in the theater scene — Jimmy, a young Virginian who teaches poetry, likes opera and poses no threat to women. With his dead-on acting, Hall also caught Jimmy’s giddiness at making his first trip to New York and discovering ’things that could never happen in Lynchburg’.”
Tim Smith, OPERA NEWS 2007
“Standouts in the 11-member cast included...Adam Hall, whose bright tenor illuminated the stage-struck Jimmy, a non-Hopper figure.”
Heidi Waleson, THE WALL STREET JOURNAL, 2007
“Adam Hall danced and cavorted around the ’stage’ with frothy confidence, thespian humor and resplendent voice.”
Cecilia Porter, THE WASHINGTON POST 2006
“The soloists... tenor Adam Hall spun out the score’s elaborate melodic forays, trills and echo effects with skill, eloquence and a deep understanding of its compelling drama.”
Cecilia Porter, THE WASHINGTON POST 2005
“The three soloists were first-class. Tenor Adam Hall had the shortest but toughest assignment: the high-pitched monologue of a swan being roasted. All sang with distinction.”
Joseph McLellan, THE WASHINGTON POST 2004