Hailed by The New York Times as “a bass with an attitude and the goods to back it up,” Matt Boehler has been critically acclaimed both for his dramatic skill and his vocal ability. With Wolf Trap Opera Company, Mr. Boehler garnered much praise in the title role in Sweeney Todd. The Washington Post raved:
“There are times, in fact, when this young man with a huge crossover career ahead of him is standing in a crowd of actors, and you’d swear he was the only person onstage.”
The 2014-2015 season included returns to the Metropolitan Opera as Bertrand in Iolanta and Madison Opera as Rocco in Fidelio, and debuts with Théâtre Royal de La Monnaie in Daphne, Michigan Opera Theater as Méphistophélès in Faust, and Des Moines Metro Opera as Osmin in Die Enführung aus dem Serail.
The 2015-2016 season will see his debut with Dallas Opera as the Donkey in the world premiere of Mark Adamo's new opera, Becoming Santa Claus. He also joins Musica Sacra for Handel’s Messiah at Carnegie Hall, and the Sacramento Chorale for Haydn’s Harmoniemesse. He makes role and company debuts as Il Cieco in Mascagni’s Iris with Bard Summerscape, and as Baron Ochs in Der Rosenkavalier with Victory Hall Opera. Seasons beyond include a much anticipated return to Canadian Opera Company as Sarastro in Die Zauberflöte, and a company debut with Opera Philadelphia in the world premiere of Elizabeth Cree by composer Kevin Puts and librettist Mark Campbell.
The 2013-2014 season brought Mr. Boehler’s return to the Metropolitan Opera for The Nose, his debut with Canadian Opera Company as Sir Walter Raleigh in Roberto Devereux and his cover of the title role in Don Quichotte, and a reprise of his Messiah with the Jacksonville Symphony. Additionally, he returned to Theater St. Gallen for his role debut as Daland in Der fliegende Holländer, Leporello in Don Giovanni, Pfarrer/Dachs in The Cunning Little Vixen, and Sparafucile in Rigoletto. He also joined the St. Galler Festspiele as Baldassare in La favorita for their 2014 festival season.
The season of 2012-13 found Mr. Boehler making several house and role debuts. He joined the ensemble of Theater St. Gallen in Switzerland as Sarastro in Die Zauberflöte, Count Horn in Un ballo in maschera, Pedone in La Wally, Marchese di Calatrava in La forza del destino, Leone in Attila and as Sparafucile in Rigoletto, a role he debuted recently with the Minnesota Orchestra. He made his Madison Opera debut as Leporello in Don Giovanni, and a highly acclaimed New York City Opera debut as the Hotel Manager in Thomas Ades’ Powder Her Face, a role he reprised with the Festival Opéra de Quèbec. He also returned to Carnegie Hall for performances of Messiah with Musica Sacra. In the 2011-2012 season, he sang Drebednev in Moscow, Cheryomushki with Chicago Opera Theater, Nourabad in Les pêcheurs de perles for Hawaii Opera Theater, and two operas by Philip Glass: In the Penal Colony with American Opera Projects and Kepler with Spoleto Festival USA. Additionally, he was heard in performances of Messiah with the Jacksonville Symphony and the Portland Baroque Orchestra.
In recent seasons, Mr. Boehler has enjoyed busy schedules on both the operatic stage and the concert platform. He joined the rosters of Lyric Opera of Chicago and The Metropolitan Opera, covering roles at both houses. He has been featured in productions with Minnesota Opera, Opera Theater of Saint Louis, Wolf Trap Opera, Opera Lyra Ottawa, Central City Opera, Florentine Opera, Hawaii Opera Theater, Opera New Jersey and Festival Lyrique-en-mer. In concert, he has been heard with the New York Philharmonic, Baltimore Symphony Orchestra, American Symphony Orchestra, Orpheus Chamber Orchestra and Oratorio Society of New York. He has been seen in several critically acclaimed performances with the New York Festival of Song and he recently appeared in recital at Spoleto Festival USA and with the Lotte Lehmann Foundation.
Mr. Boehler is also a frequent collaborator within the world of contemporary music. In addition to the work of recent seasons, he has been seen in two world premieres of John Musto’s work: The Inspector with Wolf Trap Opera and Bastianello, along with William Bolcom’s Lucrezia, with New York Festival of Song. He premiered Michael Dellaira’s The Secret Agent with Center for Contemporary Opera, and he has been seen in Argento’s Casanova’s Homecoming and Poul Ruders’ The Handmaid’s Tale, both with Minnesota Opera. His discography includes recordings of Bastianello and Lucrezia with NYFOS and a disc of songs by Stefan Wolpe with pianist Ursula Oppens; he can also be heard on recordings of Bernstein’s Mass with Baltimore Symphony Orchestra and of Schumann’s Scenes from Goethe’s Faust with American Symphony Orchestra as well. He is a graduate of the Juilliard Opera Center and he held a three-year tenure as a resident artist with Minnesota Opera. At Viterbo University, his first alma mater, he graduated with a degree in Theatre Arts.