Currently based at Frankfurt Opera and with an active career in both North America and Europe, THEO LEBOW continues to
solidify his reputation as one of the finest young lyric tenors on international stages. His performances reveal exceptional
intelligence and musical understanding along with dramatic skill, to complement his technical finesse and beautiful sound.
These qualities have enabled him to build a remarkably diverse repertoire from Baroque to contemporary.
A Los Angeles native, now entering his third season as a member of the ensemble at Frankfurt Opera, Theo’s experience
there has ranged from Tamino in Mozart’s Die Zauberflöte, and Tom Rakewell in Stravinsky’s The Rake’s Progress, to the
taxing tenor role of Massimo in Gluck’s Ezio (“Theo Lebow is a find as Massimo... his voice has the sound of an heroic
Italianate tenor but on a smaller scale well-suited to Baroque opera...” Stage Door)
After singing Ozia in a recent new production of Mozart’s Betulia liberata, reviews were rapturous: “Theo Lebow sings his
entrance aria, a bravura piece marked by bold coloratura, with astounding verve and confidence” (Frankfurter Rundschau)
“Theo Lebow mastered the challenging tenor part of Ozia with radiant heights and great agility in the runs” (Online Music
Magazine) “The young American singer Theo Lebow conquered this role, one that also requires an actor’s gift, with flying
colors. Immediately, in his very first aria, he moves effortlessly into coloratura heights.” (Feuilleton Frankfurt)
Following his appearance for Boston Mid-Summer Opera as Almaviva in Il barbiere di Siviglia, Lebow returned to Frankfurt
where his 2018-2019 season includes featured roles in Ariadne auf Naxos, Satyricon, The Merry Widow, Dalibor and Die
Zauberflöte. In 2017-18, Frankfurt opera patrons heard him as Ruiz in Il Trovatore, Squeak in Billy Budd, An Old Prisoner in
Janácek’s From the House of the Dead, as well as Carlo in the Frankfurt première of Manfred Trojahn’s Enrico, and Krell in
the world première of Arnulf Herrmann’s Der Mieter (The Tenant). Theo’s repertoire, ranging from Baroque to contemporary,
already embraces some 20 roles in operas, and he has sung in six languages.
Engagements have included Jupiter/Apollo in Handel’s Semele at Seattle Opera; Picasso and F. Scott Fitzgerald in the
première of Ricky Ian Gordon’s opera“27" alongside Stephanie Blythe and Elizabeth Futral for Opera Theatre of St. Louis
(also on CD from Albany Records); Jaquino in Beethoven’s Fidelio at the Shippensburg Festival in Pennsylvania; Mr. Porcupine
in Tobias Picker’s Fantastic Mr. Fox for both Opera San Antonio and Odyssey Opera in Boston; and Fenton in Verdi’s Falstaff
at Opera Hamilton – his Canadian debut – where he was hailed for his “plangent tenor with a sweet timbre” (La Scena
Theo won early recognition from Santa Fe Opera when he received the Richard Tucker Foundation Award after becoming
part of its young artists’ program and he was invited to participate successively in San Francisco Opera’s prestigious Merola
Summer Program, and Seattle Opera’s young artist program.
In recital, Theo’s performances are marked by musical eloquence and powerful communication of text, wedded to vocal
beauty. He has sung in Carnegie Hall’s Weill Recital Hall; given a Schwabacher Debut recital in San Francisco; performed
recital programs with the New York Festival of Song at the Kennedy Center’s Terrace Theater in Washington, as well as in
Caramoor and New York City; and participated in a Schubert and His World recital of vocal chamber music at the Bard Music
Festival in New York.
Theo’s concert engagements have featured multiple appearances on Carnegie Hall’s main stage, often as soloist Handel’s
Messiah. On the same stage, he has sung the tenor solo in Mendelssohn’s Symphony No. 2 (Lobgesang) and excerpts from
Verdi’s Rigoletto alongside soprano Jennifer Zetlan.
Theo also had the rare opportunity to sing with Bryn Terfel, Stephanie Blythe and Angela Meade at the Richard Tucker Gala
in Avery Fisher Hall at Lincoln Center in 2011.