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Baroque Architecture


Praised by Anthony Tomassini of The New York Times for his “winning singing and youthful bearing,” American tenor Richard Pittsinger is quickly establishing himself as a leading performer of both early and modern repertoire.


An artist of rare versatility whose performance experience spans music across four centuries, Pittsinger’s recent principal operatic roles include Céphale in Élisabeth Jacquet de La Guerre’s Céphale et Procris with the Boston Early Music Festival, Aminta in Handel’s Atalanta with Julliard Opera, Polinesso in Jonathan Dawe’s Being Ariodante with the Italian Academy, Orfeo in Luigi Rossi’s L’Orfeo with Julliard Opera, Lysander in Britten’s A Midsummer Night’s Dream with Julliard Opera, and “The Rocket” in Laura Karpman’s Wilde Tales at the Glimmerglass Festival. Additional stage credits include Verdi’s Falstaff at the Aspen Music Festival (Dr. Caius), Handel’s Acis & Galatea (Damon & Corydon), Virgil Thomson’s The Mother of Us All (Andrew Johnson), and Offenbach’s Orpheus in the Underworld (Mercury).

Equally comfortable on the concert stage, Pittsinger has additionally appeared as tenor soloist with The Cecilia Chorus of New York, The Co-Cathedral at St. Joseph’s, as well as Julliard415. He has collaborated with, or appeared under the direction of, such artists as William Christie, Francesca Zambello, Richard Egarr, Gary Wedow, Mark Shapiro, Mary Birnbaum, and Steven Osgood.


Pittsinger’s expressive singing and powerful high register has earned him widespread acclaim from various leading publications throughout the United States. During his recent appearance in Handel’s Atalanta, Opera News noted that “As Aminta, Richard Pittsinger skated nimbly over his runs and demonstrated an impressive high extension,” while Voce di Meche described “such stunning vocal moments that we found ourselves holding our breath.” Following a Carnegie Hall recital associated with Renée Fleming’s SongStudio 2022, described how “Pittsinger had strength, particularly in the high register,” and Seen and Heard International lauded his “stage presence to burn… a mastery of Baroque style…and equal ease in Benjamin Britten’s ‘At Day-Close in November…’”

As a young treble, Pittsinger received early training at New York’s prestigious St. Thomas Choir School, recording or performing with the Orchestra of St. Luke’s under the baton of John Scott, the Dresden Symphony with Vladimir Jurowski and, alongside his father David Pittsinger, the Pittsburgh Symphony with Leonard Slatkin. He made his operatic debut at age 11 at the Castleton Festival, subsequently appearing at the Glimmerglass Festival.

A graduate of The Juilliard School, Pittsinger received a Bachelor and Master of Music under the tutelage of Elizabeth Bishop, performing in masterclasses with Renée Fleming and Nicholas McGegan. He pursued additional studies at the Tanglewood Institute, Amherst Early Music Festival, and Aspen Music Festival.

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