Canadian bass Michael Uloth is a new member of the Seattle Opera Young Artists Program, where his performances include the title role in Don Pasquale and Le Bailli in a touring production of Werther. A graduate of the Canadian Opera Company Ensemble Studio, Michael travels to France in the spring to perform the Bonze in Robert Lepage's The Nightingale & Other Short Fables for Opéra de Lyon before returning to Canada to reprise the role of Don Pasquale for Saskatoon Opera.
In his three seasons with the Canadian Opera Company, Michael's performances included Truffaldino in Ariadne auf Naxos, Snug in A Midsummer Night's Dream, 2nd Armed Man in Die Zauberflöte, Imperial Commissioner in Madama Butterfly, Bonze in Le Rossignol, Priest in St. Mark's in Death in Venice, Gavrila in War & Peace, and Sarastro, Don Alfonso and Voice of Neptune in Ensemble Studio performances of Die Zauberflöte, Così fan tutte and Idomeneo, respectively. He also covered the roles of Colline in La Bohème, Zuniga in Carmen, Ramfis in Aida, Lodovico in Otello, Masetto in Don Giovanni, Pietro in Simon Boccanegra, The Emporer in Le Rossignol, Bass 2 in Renard, and Theseus in A Midsummer Night's Dream.
An alumnus of Glimmerglass Opera's Young American Artists Program, Michael’s opera credits also include Caronte/Plutone in L’Orfeo (Glimmerglass Opera, cover), Poet/Judge in Philip Glass’ Orphée (Glimmerglass Opera, cover), Sparafucile in Rigoletto (Saskatoon Opera), Enrico VIII in Anna Bolena (Opera in Concert), Leporello/Il Commendatore in Don Giovanni (Centre for Opera Studies in Italy), Sarastro in Die Zauberflöte (Guelph Symphony Orchestra), Pistola in Falstaff (Highlands Opera Studio), and High Priest/Hymen in Purcell's The Indian Queen (Toronto Masque Theatre). At Wilfrid Laurier University and the University of Toronto Opera Division, his roles included Il Re di Scozia in Ariodante, Sarastro in Die Zauberflöte, Collatinus in The Rape of Lucretia, Superintendent Budd in Albert Herring, Theseus in A Midsummer Night's Dream, Reverend John Hale in The Crucible, The Orderly in Hindemith's Hin und Zurück, and Jimmy in Weill's Mahagonny Songspiel.
In concert, Michael's repertoire includes Mozart's Requiem (Grand River Chorus), Jesus in Bach's St. Matthew Passion (Victoria Philharmonic Choir) and St. John Passion (Metropolitan Festival Choir), Haydn's Nelson Mass (Elora Festival), Balthasar in Amahl and the Night Visitors (Elora Festival Singers), Haydn's The Creation (Parry Sound School of Music), Rossini’s Petite Messe Solennelle (Centre for Opera Studies in Italy), and Polonius/Gravedigger in Canadian composer Mark Richards' Hamlet (Stratford Summer Music). He has also presented two recitals at the Arts & Letters Club of Toronto, featuring works by Brahms, Finzi, Donizetti, Verdi and Thomas Legrady.
Michael is a graduate of the Bachelor of Music and Opera Diploma programs at Wilfrid Laurier University and the Master of Music in Opera program at the University of Toronto Opera Division. He has also trained at Glimmerglass Opera's Young American Artists Program, the Centre for Opera Studies in Italy, Highlands Opera Studio, the Banff Centre's Opera as Theatre Program, and the International Vocal Arts Institute's training programs in Montreal and Puerto Rico. He has been the recipient of numerous awards and scholarships, including Second Prize at the Christina & Louis Quilico Awards and generous support from the Canada Council for the Arts, and also holds a Bachelor of Arts in English Literature.
"The title role was strongly taken by Michael Uloth, who succeeded in making Don Pasquale a figure of pathos rather than sheer absurdity."
—Bernard Jacobson, SEEN AND HEARD INTERNATIONAL (Don Pasquale, April 2012)
"The youthful Uloth portrays a creaky-jointed septuagenarian with a little pot belly and a long skinny face…His mannerisms fit the picture, especially his efforts to sit down and get up again."
—Philippa Kiraly, THE SUN BREAK (Don Pasquale, April 2012)
"Bass Michael Uloth has only a cameo role, but it's enough to make one want to hear more of him."
—Philippa Kiraly, THE SUN BREAK (Werther, Nov 2011)
"The male quartet (John Easterlin, Peter Barrett, Michael Uloth and Christopher Enns) was a gift that kept on giving at every turn. It's difficult to imagine their roles performed better in any way."
—Lydia Perovic, DEFINITELY THE OPERA (Ariadne auf Naxos, May 2011)
"At the other end of the vocal spectrum, Kitchener-born bass Michael Uloth proved superior as a singer (and vastly superior as an actor) to his counterpart."
—Arthur Kaptainis, NATIONAL POST (Die Zauberflöte, February 2011)
"Uloth did a great job, whether in the lovely legato in both his arias, his confident low notes, and particularly in the profundity of his final lines."
—Leslie Barcza, BARCZABLOG (Die Zauberflöte, February 2011)
"Michael Uloth as Sarastro impressed the most. He controlled his remarkable old-man basso with a twinkle in the eye and made the abysmally low notes appear an easy game."
—Lydia Perovic, DEFINITELY THE OPERA (Die Zauberflöte, February 2011)
"Michael Uloth brought a sense of wisdom as well as warmth to Sarastro."
—Jon Kaplan, NOW MAGAZINE (Die Zauberflöte, February 2011)
Featured article: "Cinderella a big hit with children in the north."
—Barb Farwell, EQUITY QUARTERLY (Cinderella, November 2010)
"Bass Michael Uloth...also performed admirably. His voice has an interesting timbre with a slight edge that gives it particular definition and cuts through, particularly in the lower register."
—Stephen Preece, WATERLOO REGION RECORD (Nelson Mass, Aug 2009)
"The cynical Don Alfonso was urbanely and slyly played by bass Michael Uloth..."
—Ken Winters, GLOBE & MAIL (Così fan tutte, June 2009)
"Michael Uloth's Don Alfonso is a baby bass of great promise."
—Paula Citron, CLASSICAL 96.3 FM (Così fan tutte, June 2009)
"Then there's Michael Uloth, a very impressive young bass...Uloth was note-perfect. He also has the kind of unstrained security and confidence that allows you to just sit back, relax and enjoy the performance."
—Michael Crabb, CBC RADIO 1 (Così fan tutte, June 2009)
"Bass Michael Uloth took full advantage of Colline's brief moment to shine in 'Vecchia zimarra'."
—Joseph So, LA SCENA MUSICALE (Scenes from Bohemian Life Concert, March 2009)
"He has an attractive stage presence—no small advantage in today's push for dramatic verissimilitude."
—Joseph So, LA SCENA MUSICALE (Meet the Young Artists Concert, September 2008)
"Two to watch are bass Michael Uloth and baritone Andrew Mahon. They both have rich, warm, hearty voices."
—Paula Citron, CLASSICAL 96.3 FM (The Indian Queen, April 2008)
"Uloth is clearly a talent on the rise...he nailed Enrico's capricious character..."
—Paula Citron, OPERA CANADA (Anna Bolena, October 2007)
Libera me (Requiem, Fauré)
Je t'implore (Hamlet)
I'm a lonely man, Susannah (Susannah)
O Isis und Osiris (Die Zauberflöte)
The Gravedigger's Song (Hamlet, Mark Richards)
Michael is represented by DEAN ARTISTS MANAGEMENT. Contact his agents.
To contact Michael directly, please click here.