Praised for his “smooth, rich sound” and “stylish power” by The Baltimore Sun, bass Matthew Curran brings a blend of intelligent musicianship and strong dramatic instincts to a variety of roles. Having sung on the stages of the Zürich Opera, the Seattle, Atlanta, Memphis, and many other regional opera houses, he is a major talent on the rise. His operatic repertoire includes Filippo in Verdi’s Don Carlo, Sarastro in Mozart’s Die Zauberflöte, Oroveso in Bellini’s Norma, Frère Laurent in Gounod’s Roméo et Juliette, and Colline in Puccini’s La Bohème. On the concert stage, Beethoven’s Ninth Symphony, Handel’s Messiah, the Mozart, Verdi, and Brahms Requiems, and the great Bach oratorios. This season brings Matthew to Opera Carolina, Grand Rapids Opera, and Toledo Opera to sing Sparafucile in Rigoletto. He returns to Opera Delaware for Simone in Gianni Schicchi/Buoso’s Ghost and Baltimore Concert Opera for Judge Turpin in Sweeney Todd. He sings the bass solos in Messiah with Long Island Choral Society and returns to join the Canterbury Choral Society for the baritone solo in Brahms’ Ein Deutsches Requiem.
Last season he sang Orbazzano in Rossini’s Tancredi with Baltimore Concert Opera and Opera Southwest, a debut with Odyssey Opera as Basil in Lowell Liebermann’s The Picture of Dorian Gray, Terry in Breaking the Waves, a new opera by Missy Mazzoli and Royce Vavrek in its New York premiere at the Prototype Festival, and Thomas Betterton in the NY premiere of Carlisle Floyd’s new opera, Prince of Players, with Little Opera Theater of NY. Handel’s Messiah brings him to Prescott, Arizona, and he returns to Duke University Chapel to sing Jesus in Bach’s St. John Passion. 2015-2016 included the role of Ramfis in Aida at both Opera Southwest and Baltimore Concert Opera, Don Iñigo Gomez in L’Heure Espagnole with Opera Memphis, and Pistola in Falstaff with Opera Delaware.