BIO
Baritone Nathan Keoughan is a rising star to watch, praised for his “booming, rich voice”, and “charismatic, frightening, and empathetic” performances (Broadway World). Recent and upcoming engagements include Orff’s Carmina Burana with the Grand Philharmonic Choir, his role debut as Escamillo for Vancouver Opera’s Carmen, a role and company debut as Danilo in The Merry Widow with Toronto Operetta Theatre, and Bernstein’s Mass with Chorus Niagara.
An alumnus of Opéra de Montréal’s prestigious Atelier Lyrique, he returned to the company for Conte di Luna (cover) in Verdi’s Il trovatore, and the world premiere of Bilodeau’s La reine-garçon, covering the role of Karl Gustav, which he revisits for the Canadian Opera Company this season. Other recent career highlights include the Canadian premiere of Braunfels’ Die Vögel with Pacific Opera Victoria, and two-dozen performances with Sound the Alarm for their Canadian tour of Music of the Night: The Music of Andrew Lloyd Webber, which he reprises this fall.
Nathan had his operatic start as an emerging artist in Calgary Opera’s McPhee Young Artist Program, before his residency with Opéra de Montréal. While with the latter, Nathan was given the opportunity to cover the role of Pink in Opéra de Montréal’s new creation Another Brick in the Wall based on the iconic Pink Floyd album, The Wall. The following year, Nathan made his American debut with Cincinnati Opera as the jaded rockstar to critical acclaim, praised for his “commanding presence in this marathon leading role, singing for nearly the opera’s duration” (Bachtrack). In 2019, he reprised the role in Toronto at the Meridian Hall.
Other opera performance highlights include: Leo Stein in Twenty-Seven with l’Atelier lyrique (Montréal), Paris in Roméo et Juliette and Sciarrone in Tosca with l’Opéra de Montréal, and Silvio in Pagliacci with Semaine Italienne Festival. Born into a musical family on Prince Edward Island, the young baritone studied voice at University of Prince Edward Island before joining the New England Conservatory in Boston.
August 2024
Recent
MASS
Nathan appeared as the Celebrant in
Chorus Niagara's production of Bernstein's MASS
Carmen
Nathan's Vancouver Opera debut was as Escamillo in Bizet's Carmen
Il Trovatore
Nathan has the pleasure of covering the role of Conte di Lune at l'Opéra de Montréal in their new production of Verdi's Il Trovatore.
The Birds
Later this season Nathan will be making his Pacific Opera Victoria debut in
The Birds by Braunfels.
Sung in German
February 22, 24, 26, 28, 2022
at the Royal Theatre
Questo Amor from Puccini's Edgar.
Indian River Festival - August 2021
Pianist Nicole Bellamy
Universum Media and Sound Engineer Peter Gallant.
Soliloquy from Carousel
August 2022
Recording Engineer Brenden Friesen
Vision Fugitive from Hérodiade by Massenet
August 2022
Recording Engineer Brenden Friesen
CREDITS
Opera Credits incude
Conte di Luna (cover) from Il Trovatore with Opèra de Montrèal; Gianni Schicchi from Gianni Schicchi with ICAV; Marcello from La Bohéme with LAMP;Pink from Another Brick in the Wall, Toronto; Leo Stein from Twenty Seven with Opera de Montreal; Pink from Another Brick in the Wall, Cincinnati Opera; Escamillo from Carmen with Orchestre Symphonique de Longueuil; Sciarrone from Tosca and Paris from Roméo et Juilette with L’Opéra de Montréal (17/18 season); Don Alfonso from Così fan Tutte, Figaro in Le Nozze di Figaro, Angelotti in Tosca, Luka in The Bear and Colline in La Bohème with Highlands Opera Studio; First Priest and Armed Guard from Die Zauberflöte with Calgary Opera; Nando from Miracle Flight 571 (World Premier); Dr. Bartolo in The Barber of Seville with the Indian River Festival; Azarias in The Burning Fiery Furnace with Ballet Opéra - Pantomime, Montréal; Dulcamara in L’Elisir d’amore and Colline in La Bohème with Cowtown Opera, Calgary; While studying at the New England Conservatory Nathan had the opportunity to perform The Speaker from The Magic Flute and The Mayor in Bizet’s Doctor Miracle.
Nathan Keoughan, was a commanding presence in this marathon leading role, singing for nearly the opera’s duration. The opening “In the Flesh?” was delivered as a recitative, with the full force of Keoughan’s baritone evident shortly thereafter – and in “Don’t Leave Me Now” stretching well into the tenor range.
Bach Tracker
