Phillip Addis
Canadian baritone Phillip Addis is best known as the ideal Pelléas of his generation, a role he sang with opera companies and orchestras in Modena, Piacenza, Parma, Luxemburg, Cincinnati, Dresden, Bochum, Hamburg, Paris and London. He is as renowned for his Count Almaviva Le Nozze di Figaro whom he has portrayed in over a dozen different productions world-wide.
Current season engagements include Sharpless Madama Butterfly at Calgary Opera, his home company, Messiah in his return to Newfoundland Symphony Orchestra, Count Almaviva at Manitoba Opera and both Messiah and Carmina Burana with Edmonton Symphony Orchestra.
Recent season highlights include the title role Don Giovanni, Malatesta Don Pasquale and Marco Gianni Schicci at Calgary Opera, and Zurga Les pêcheurs de perles with Vancouver Opera; he made his role debut as Don Alfonso Così fan tutte with Pacific Opera Victoria.
“Addis has sung frequently in Calgary, and here, as on other occasions, made a fine impression. His strong baritone contrasted nicely with the other principal characters, his duet with Don Pasquale an especially comic number. As the opera’s dramatic catalyst, he has plenty to do, especially with the comedy side of the opera, elements he handled with confidence and good timing.”
Kenneth DeLong, Calgary Herald, February 3, 2025
“…baritone Phillip Addis’s Don Alphonso was a sonorous agent provocateur, all too easily leading the callow young men into an ill-fated bet on their fiancées’ fidelity.” Robin J. Miller, Opera Canada, 04/18/2023
“Philip Addis has an affinity for twentieth century music, as shown by his frequent appearances in Britten’s operas. This is a highly-intelligent young singer who carefully chooses roles he can identify with. From the moment he appeared on stage, until his demise, Addis portrayed an innocent, a trait that makes Pelléas endearing. One senses that he and Mélisande truly fell in love, unaware of their predicament. This makes their Act IV declaration “Tu ne sais pas pourquoi il faut que je m’éloigne…Tu ne sais pas que c’est parce que…/Je t’aime aussi…/Oh! qu’as‑tu dit, Mélisande!” so genuine and moving.” Ossama el Naggar, ConcertoNet.com, 01/20/2023
“Phillip Addis’ Count was particularly effective, as his was a character trying to be in command and failing miserably. His final confession…was surprisingly moving, a #MeTwo offender suddenly realizing what he is and what he has done.” Mark Morris, Edmonton Journal, 4 February 2020
“Phillip Addis was a superb Billy Budd. There was a cockiness to him that was without guile, and his singing had that same quality. His voice was virile, free and open. He climbed eagerly to his death, and Warner had the sense not to spoil the moment with the snap of the rope and a dangling body.” Rick Perdian, seenandheard-international.com 05/18/2018
| Composer | Work | Role |
|---|---|---|
| Adams | Dr. Atomic | Robert Oppenheimer *in preparation* |
| Adamo | Little Women | John Brooke |
| Barry | The Importance of Being Earnest | Algernon Moncrieff |
| Bizet | Carmen | Escamillo |
| Bizet | Les pêcheurs de perles | Zurga |
| Britten | Billy Budd | title role |
| Britten | Albert Herring | Sid |
| Britten | The Rape of Lucretia | Tarquinius |
| Britten | A Midsummer Night’s Dream | Demetrius |
| Britten | Curlew River | The Traveller |
| Britten | The Prodigal Son | The Elder Son |
| Britten | The Burning Fiery Furnace | The Astrologer |
| Debussy | Pelléas et Mélisande | Pelléas |
| Debussy | La Chute de la Maison Usher | Roderick Usher |
| Donizetti | L’Elisir d’Amore | Belcore |
| Donizetti | Don Pasquale | Malatesta |
| Donizetti | Lucia di Lammermoor | Lord Enrico Ashton* |
| Floyd | Of Mice and Men | George |
| Gounod | Roméo et Juliette | Mercutio |
| Handel | Agrippina | Pallante |
| Heggie | Moby Dick | Starbuck* |
| Humperdinck | Hänsel und Gretel | Peter |
| Kaminsky | As One | Hannah before |
| Marschner | Der Vampyr | Lord Ruthven |
| Messiaen | Saint François d’Assise | Frère Léon |
| Monk Feldman | Pyramus and Thisbe | Pyramus |
| Mozart | Don Giovanni | title role |
| Mozart | Le Nozze di Figaro | Il Conte di Almaviva |
| Mozart | Così fan tutte | Don Alfonso, Guglielmo |
| Mozart | Die Zauberflöte | Papageno, Sprecher |
| Puccini | La Bohème | Marcello, Schaunard |
| Puccini | Madama Butterfly | Sharpless |
| Puccini | Tosca | Angelotti |
| Puts | Silent Night | Lieutenant Audebert |
| Rossini | Il Barbiere di Siviglia | Figaro |
| Rossini | L’Italiana in Algeri | Taddeo |
| Saariaho | L’Amour de Loin | Jaufré Rudel |
| Strauss, R. | Ariadne auf Naxos | Harlekin |
| Tchaikovsky | Eugene Onegin | title role |
| Tchaikovsky | Queen of Spades | Prince Yeletsky |
| Verdi | La Traviata | Germont* |
| Verdi | Don Carlo; Rodrigo | Marquis di Posa* |
| Verdi | Il Trovatore | Il Conte di Luna* |
| *in preparation |
| Composer | Work |
|---|---|
| Argento | The Andrée Expedition |
| Bach | BWV 32 Liebster Jesu, mein Verlangen (Dialogus) |
| Bach | BWV 82 Ich habe genung |
| Bach | BWV 211 Schweigt stille, plaudert nicht (Kaffeekantate) |
| Britten | War Requiem |
| Britten | Cantata Misericordium |
| Britten | Songs and Proverbs of William Blake |
| Brahms | Requiem |
| Brahms | Triumphlied |
| Fauré | L’Horizon Chimérique |
| Fauré | Requiem |
| Handel | The Messiah |
| Haydn | Die Schöpfung |
| Gounod | Messe Solennelle de Saint Cécile |
| Morawetz | Psalm 22 |
| Mahler | Lieder eines fahrenden Gesellen |
| Mahler | Rückert Lieder |
| Orff | Carmina Burana |
| Poulenc | La fraîcheur et le feu |
| Ravel | Don Quichotte à Dulcinée |
| Ravel | Histoires Naturelles |
| Schubert | Winterreise |
| Schubert | Schwanengesang |
| Schumann | Dichterliebe |
| Vaughan-Williams | Songs of Travel |
| Vaughan-Williams | Dona Nobis Pacem |
Contact
Deborah Sanders
Founder and Director
deborah@arbourartists.com