BERNARD HOLCOMB
TENOR
BIOGRAPHY
Tenor Bernard Holcomb has “already made a name for himself in the world of opera” with his “delicate and flexible” voice (OperaWire) and the “appealing sweetness and clarity [of] his tone” (The New York Times). Katy Walsh of Chicago Theater Beat said it best: “Although everyone [at Lyric Opera of Chicago] can sing, Holcomb reminds us why we come to the Lyric.”
Last season, Mr. Holcomb returned to The Metropolitan Opera for both X: The Life and Times of Malcom X and Fire Shut Up in My Bones, and he joined On Site Opera to sing the Curator in Song of the Nightingale and the Narrator in their Bach pastiche Coffee Cantata. He sang Alfredo in La Traviata with Eugene Opera, workshopped the title role in The Pigeon Keeper with Santa Fe Opera, performed as Beadle Bamford in Pacific Symphony’s Sweeney Todd produced by UIA Presents, and joined Central City Opera to perform as Henry Davis in Street Scene. He also made his network television début on the 25th season of Law and Order: SVU. This season, he returns to the Met to sing the Fourth Jew in Salome and to Eugene Opera to sing the Duke of Mantua in Rigoletto. He also joins Opera Parallele in the title role of The Pigeon Keeper.
Recently, Mr. Holcomb made his Metropolitan Opera début in Terence Blanchard and Michael Cristofer’s Champion, his house début at Opera Omaha in X: the Life and Times of Malcolm X, and he joined Central City Opera as Iago in Rossini’s Otello. In addition, Holcomb performed with On Site Opera as Harlekin in Der Kaiser von Atlantis and took part in the workshop for The Pigeon Keeper, a new commission from Santa Fe Opera. In concert, he sang Elijah with Hilton Head Symphony Orchestra, Adolphus Hailstork’s A Knee on the Neck with New York Choral Society, a holiday concert with the Cincinnati Pops under the baton of Mo. John Morris Russel, Jacksonville Symphony’s concert Lush Life: Duke Ellington and Billy Strayhorn, as well as Damien Geter’s An African American Requiem with Fort Worth Opera, after having appeared in its world premiere in the 21-22 season.
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CRITICAL ACCLAIM
"...endearing presence on stage..." – Theater Jones
Dancing in the Street: The Music of Motown – “Bernard Holcomb is an affectionate and conscious steward of the material. He’s an endearing presence on stage, with a control that must stem from his operatic background. With a bright rounded lyric baritone, he finesses James Brown’s “It’s a Man’s Man’s Man’s World” (a number that also includes a positively sensual tenor sax solo) and provides the evening’s emotional highlight with a lovely interpretation of “Song for You,” as performed by Donny Hathaway.”
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"...warm tenor voice imbued [...] quiet dignity and down-to-earth humanity.”" – LA Times
The Love Potion – “The solid cast was led by Bernard Holcomb, whose warm tenor voice imbued the tormented Tristan with quiet dignity and down-to-earth humanity.”
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"...appealing sweetness and clarity to his tone...” – New York Times
Otello – “…there was an appealing sweetness and clarity to his tone…In the course of the evening his voice gained vibrancy and intensity, matching his character’s descent into manipulated madness.”
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"...open, vibrant instrument..." – Cadenza
Owen Wingrave – "...as Lechmere, tenor Bernard Holcomb is given a lot to do with his open, vibrant instrument.
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"... the pleasure he draws from his art is always bracing." – New City Stage
The Emperor of Atlantis & The Clever One – “Joy bounces off tenor Bernard Holcomb like a skylight beacon accidentally aimed at an individual instead of a cloud, and even when playing a sad moment, the pleasure he draws from his art is always bracing”
REPRESENTATIVES
Founder & President
CEO & Partner | Theatre, Film, TV & Literary
Agent | Classical & Artist Promotion