Chad Sloan


Chad Sloan

American baritone Chad Sloan is recognized as much for his warm, elegant vocalism as he is for deft interpretations of diverse characters. Engagements for 2014-2015 included his debut as Papageno in Die Zauberflöte with Arizona Opera, Carmina Burana with the Lexington Philharmonic and the Flagstaff Symphony, and singing The Herald in Britten’s The Burning Fiery Furnace with Ballet-Opéra-Pantomime of Montreal. Engagements for this season and beyond include Carmina Burana with the South Bend Symphony and Pooh-Bah in The Mikado with Kentucky Opera.

Chad’s performances for the 2013-2014 season included Carmina Burana with Fox Valley Symphony, Adario in Rameau’s Les Sauvages with Bourbon Baroque, joining the Louisville Orchestra for Portrait of Robert Schumann and an appearance with Eighth Blackbird in a new work titled Killing the Goat by Andrew McManus. Other recent engagements include Carmina Burana with Columbia Pro Cantare, Bach’s Weihnachts-Oratorium with Louisville Choral Arts Society, Brahms’ Liebeslieder Waltzer at Twickenham Music Festival, Britten’s War Requiem at Lawrence Conservatory, Lee Hoiby’s This is the Rill Speaking with Opera Memphis, Prosdocimo in Rossini’s Il turco in Italia with Tacoma Opera, Vaughan Williams’ Dona Nobis Pacem with the Lexington Philharmonic, Captain Von Trapp in The Sound of Music with Anchorage Opera, Mercutio in Roméo et Juliette with Dayton Opera and the Bar Harbor Music Festival, the cover of Willy Wonka in The Golden Ticket with Atlanta Opera, Pluto in Telemann’s Orpheus for the New York City Opera, Belcore in L’elisir d’amore with Kentucky Opera, John Brooke in Little Women with Utah Opera, and Figaro in Il barbiere di Siviglia.

A frequent collaborator of composer Ben Moore, he recently premiered his new song cycle, Ode to a Nightingale, in New York. Other performances include his portrayal of Herman in Moore’s new opera Enemies, A Love Story for Kentucky Opera, Papageno in Die Zauberflöte with the Atlanta Ballet, Count Almaviva in Le nozze di Figaro for Tacoma Opera, and Clyde Griffiths in the West Coast Premiere of An American Tragedy by Tobias Picker. Additionally, Mr. Sloan returned to Wolf Trap Opera to workshop the role of Cosimo for John Musto’s new opera, The Inspector and then essayed Rossini’s poet in Il turco in Italia and Britten’s Demetrius in A Midsummer Night’s Dream in his second summer as a Filene Young Artist. In addition, he sang Laertes for the collaborative workshop of Rosencrantz & Guildenstern Are Dead for American Opera Projects and Mark Morris, followed by the role of Rosencrantz for the first orchestral performances of the opera with Boston Classical Orchestra.

Mr. Sloan performed Telemaco in the critically acclaimed Wolf Trap Opera production of Il ritorno d’Ulisse in patria under the baton of Gary Wedow and was featured as Harry or Larry in both the stage and film version of Elliott Carter’s What Next? at the Tanglewood Music Festival under maestro James Levine. He has also appeared as Raimbaud in Le Comte Ory for Tacoma Opera, Second Mate in Billy Budd for Santa Fe Opera where he covered Schaunard in La bohéme, and Masetto in Don Giovanni for Utah Opera, where he also covered Dandini in La cenerentola.

A graduate of the Juilliard School, Mr. Sloan is an active recitalist who recently performed a program responding to an installation of French Impressionism at the Everson Museum in Syracuse, New York. He has performed in concert with Steven Blier at Wolf Trap Opera in a program entitled The Pursuit of Love, and offered the world premiere of Kenji Bunch’s Dream Songs at Carnegie Hall and performed at the Britten-Pears Young Artist Programme in Aldeburgh, England under the tutelage of Roger Vignoles and Philip Langridge. On the concert platform, he was heard in Vaughan-Williams’ Fantasia on Christmas Carols with the Lebanon Symphony Orchestra, as well as Schumann’s Requiem für Mignon and Faure’s Requiem with the Louisville Choral Arts Society. Under the baton of Keith Lockhart, he performed Peer Gynt with the Utah Symphony where he was also heard in performances of Handel’s Messiah.