Hunter Enoch
bass baritone
About Hunter
Bass-baritone Hunter Enoch is making his mark on stages across the United States with his “big, ringing voice and magnetic stage presence.” This season, Mr. Enoch makes his début with San Diego Opera singing Germont in La traviata. He also returns to Dallas Symphony Orchestra to finish The Ring Cycle, covering Wotan in Siegfried and Götterdämmerung after singing Donner and covering Wotan in Das Rheingold and Die Walküre last spring. Additionally last season, Hunter sang Grégorio in Roméo et Juliette with Washington National Opera, Arthur Keller in the world premiere of Touch with Opera Birmingham, Escamillo in Carmen with Jacksonville Symphony, and he returned to Opera Theatre of Saint Louis to sing Pope Urban VIII in Galileo Galilei.
Critical Acclaim
Tosca; Opera Theatre of St. Louis
"Hunter Enoch’s Scarpia, though, was absolutely splendid. His vocal makeup was ideally suited to the assignment—a weighty dramatic baritone, utterly responsive throughout its range, with a trace of the “snarl” so essential to this role. In Act I, he wore the traditional powdered wig; in Act II, the wig removed, he showed himself to be a young, almost babyfaced man. This Scarpia hadn’t learned how to be evil; he was evil from birth."
- Fred Cohn; Opera News
Marriage of Figaro, Maryland Lyric Opera
"Bass-baritone Hunter Enoch headlined a strong cast of mostly MdLO regulars, with a polished performance as Figaro. His interpretation was vocally agile, displaying consummate control over the entirety of the role’s range, including powerful top notes. As the servant who ultimately outwits his bullying master, Enoch’s calm presence seethed with repressed resentment."
- Charles T. Downey, Washington Classical Review
Les contes d’Hoffmann, Aspen Music Festival
"Chief among the cast for sheer vocal presence and power were… and bass-baritone Hunter Enoch, rock-solid vocally as all four of Hoffmann’s nemeses, an oddly shaped red hair and beard identifying him as he lurked around the edges of every scene. He created a demonic aura every time he stepped forward."
- Harvey Steiman, The Aspen Times
Better Gods, Washington National Opera
"“Hunter Enoch showed a firm, pleasant baritone as the journalist James Miller, who is forced to confront the untruths he has published from the American perspective, though not to emend them…”"
- Anne Midgette
Russian Romances, Academy of Vocal Arts
"“Hunter Enoch as the Knight, wielding a steeled baritone and great diction, could sing this on any opera stage in the world tomorrow…”"
- Lewis Whittington
