Hadleigh Adams


Management: Australasia

Bajazet - Pinchgut Opera
“Baritone Hadleigh Adams cut a dignified figure as the defeated Bajazet. He astutely infused his resounding, dark-hued timbre with nuanced dynamics and tone colours to convey his character’s emotional distress.”
Murray Black The Australian July 4 2015

La Boheme, San Francisco Opera
"However, it was the fluid and touchingly attentive performance by Hadleigh Adams as Schaunard which completely captivated me. It's rare to encounter a Schaunard who can demonstrate so much genuine charisma and communicate so much compassion."
George Haymont, Huffington Post, January 2015

Agrippina, Opera Omaha
“…As Nero's stepfather, Claudius, baritone Hadleigh Adams had a delivery that was impressively full-bodied and bold. He has a gorgeous voice and performed with a confidence befitting an emperor. Moreover, he had a physical presence that was commanding and powerful”.
Kim Carpenter, World Herald 15/2/2014

Stern Grove Concert
"Baritone Hadleigh Adams' delivery of Billy's final soliloquy from "Billy Budd" was so sweet-toned and poignant that it left a listener eager to hear him undertake the whole role."
Joshua Kosman San Francisco Chronicle, August 2013

 St Matthew Passion
“The presence of Hadleigh Adams's beguiling Jesus ensures that the arias and choruses become reactions to the life and death of an individual, rather than abstract expressions of devotion: after his solitary walk to his off-stage Calvary, we are painfully conscious of his absence”.
Tim Ashley, The Guardian, September 2012

New Zealand baritone Hadleigh Adams is a former San Francisco Opera Adler Fellow and a graduate of the Merola Opera Program. Hadleigh studied at the University of Auckland, the New Zealand School of Music, and was an Emerging Artist with the NBR New Zealand Opera before relocating to Australia in 2009 as the inaugural Gertrude Johnson Scholar at The Opera Studio, Melbourne. He subsequently received a full scholarship to the Guildhall School of Music and Drama where he studied with Rudolf Piernay and Janice Chapman, gaining a Masters of Music with Distinction. 

Whilst studying at Guildhall he made his debut at London’s Royal National Theatre singing the role of Christ in Jonathan Miller’s production of Bach’s St Matthew Passion, to critical acclaim. He has also performed in concert at St Martin-in-the-Fields, the Barbican Theatre, and at Wigmore Hall as part of the Voiceworks initiative.

In 2016 Hadleigh's performances included Stravinsky's Oedipus Rex (Creon and Messenger) with the London Philharmonic Orchestra and Esa Pekka Salinen in San Francisco, Falke in Die Fledermaus for Cincinnati Opera, Fauré Requiem with San Francisco Symphony, St Matthew Passion with Colorado Symphony, the Shepherd in Pelléas et Mélisande with LA Philharmonic Orchestra, Powder Her Face in California, Mahler’s Ruckert Lieder with Oakland Symphony and concerts with Vallejo Orchestra.

2017 engagements include Nicomedes in Young Caesar and War of the Worlds, both with the Los Angeles Philharmonic, Jesus in a staged version of Bach's St Matthew Passion with the Colorado Symphony Orchestra, Crossings (Aucoin) at BAM, Bello in La Fanciulla del West with Michigan Opera Theatre, Silvio in Pagliacci and Seven Deadly Sins at Festival Opera, Steward in Jonathan Dove’s Flight and Paul in Glass' Les Enfants Terrible at Opera Paralléle in San Francisco and Messiah with the American Bach Soloists, also in San Francisco.

Other highlights  include Schaunard (La Bohème) with San Francisco Opera, Guglielmo (Cosí fan Tutte) with Opera Pittsburgh, Zoroastro (Orlando) at the New York City Whitespace Art Centre, a residence at the renowned Marlboro Music Festival under the artistic direction of Mitsuko Uchida, a return to Pinchgut Opera to perform the title role in Vivaldi’s Bajazet, the Fauré Requiem with Sydney Philharmonia Choirs, Candide with Oakland East Bay Symphony and Jake Heggie’s For a Look or a Touch with San Francisco Gay Men’s Chorus. Hadleigh also covered the role of Joseph De Rocher in Jake Heggie’s Dead Man Walking for Opera Parallèle, Marquis (La Traviata), Grand commissioner (Madama Butterfly), Luther/Schlemil (Les contes d’Hoffmann), Simon (The Gospel of Mary Magdalene), Jimmy (Dolores Claiborne), all for San Francisco Opera, his highly praised debut with Pinchgut Opera singing Pollux in Rameau’s Castor et Pollux (now released on CD on the Pinchgut Live label), Gendarme in Poulenc’s Les mamelles de Tirésias with Opera Parallèle, Claudio (Agrippina) with Opera Omaha and a recital with Steven Blier. He has also covered the roles of Ormonte (Partenope), Crespil (Les Contes d’Hoffmann) and Dandini (Cenerentola) for San Francisco Opera. 

Hadleigh’s other opera roles include the title role in Le Nozze di Figaro, Papageno (The Magic Flute), Malatesta (Don Pasquale), Aeneas (Dido and Aeneas), Nardo (La Finta Giardiniera), Dappertutto (Les contes d’Hoffmann), Starveling (A Midsummer Night’s Dream), and Bob (The Old Maid and the Thief). 

Concert engagements have included St Matthew Passion (Southbank Sinfonia) and St John Passion (The Orpheus Choir), Purcell’s Come ye Sons of Art, Dvorak’s Stabat Mater (Royal Melbourne Philharmonic Choir and Orchestra), David Hamilton’s Breaking the Quiet (Auckland Philharmonia Orchestra), Messiah (Royal Melbourne Philharmonic) and Vaughan Williams’ Fantasia on Christmas Carols (Musica Sacra)


Hadleigh Adams is managed by Graham Pushee: graham@artsmanagement.com.au
June 2017
  This biography is for general information purposes only and not for publication.
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