American tenor Roy Cornelius Smith is quickly establishing himself among the ranks of the finest tenors of his generation through his voice of exceptional color and beauty, his compelling dramatic interpretations, and outstanding musicianship. He has already been heard on some of the world's great operatic stages including the Metropolitan Opera, Salzburg Festival, Lyric Opera of Chicago and Berlin's Deutsche Oper. He has also appeared with the Chicago Symphony Orchestra, New York Philharmonic, Orchestra del Teatro Carlo Felice, Orchestre Metropolitain du Grand Montreal and the Vienna Radio Symphony Orchestra.

Earlier this season, he stepped in to replace Marcello Giordani for three performances as Dick Johnson in La Fanciulla del West with Lyric Opera of Chicago opposite Deborah Voigt. Claudio Vellutini of Mundoclasico.com stated "American tenor Roy Cornelius Smith took over the demanding role of Dick Johnson. He showed remarkable command of the technical challenges of his part and his top register sounded particularly bold and sonorous...At the end of the evening, the audience rewarded him with a standing ovation."

This summer he makes his debut with the Bergenzer Festspiele singing the title role of Andrea Chenier under the baton of Ulf Schirmer and directed by Keith Warner. He also returns to the Duetsche Oper Berlin to reprise his acclaimed performances of Calaf in Turandot opposite Lise Lindstrom and debuts at the Concertgebouw in Braunfels' Te Deum.  (Read More)



 

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Turandot - Vienna (November 2006).

"Just when you think they don’t make ’em like they used to, along comes Roy Cornelius Smith as Calaf to send you back to the Golden Age for comparisons: Giovanni Martinelli’s ringing, trumpet-like high notes, the heroic beauty of Aurelano Pertile, the baritonal timbre of Mario Del Monaco, the perfect musicianship of Enrico Caruso. His voice is huge, dusky and Italianate, his phrasing and use of dynamics generous and elegant, his stage presence endearing. “Nessun dorma,” sung sweetly, passionately and thrillingly, stopping the show cold (there is no cadence to the aria in the original score, but the explosive ovation and accompanying “Bravos!” were so deafening and prolonged, Hager had no choice but to put down the baton)...While the audience voiced its universal approval of Barbe and Doucet’s well-executed concept (how strange to attend an opera premiere in Vienna and not hear one “Boo!”), it reserved its loudest roar for Smith. Triumphs like this are one in a million." Musical America

 

"Let’s begin with the high point of the evening, and his name is Calaf.  The American tenor Roy Cornelius Smith is ideally cast for a house like Volksoper with his baritonal timbre and fantastic high notes.  He sang the crowning climax of “Nessun dorma” so radiantly and perfect that the audience couldn’t restrain itself from immediate rejoicing (the singer, however, remained in character and did not take a bow).  One shouldn’t compare him with Pavarotti, that can only be done by listening to recordings.  We are happy to have heard such a Calaf live."  Der Neue Merker