Tenor Nicholas Simpson “possesses a voice that is flexible, but powerful...he literally stunned the public with his technical and expressive capability” (Corriere di Rimini) and has been praised by Opera News, for his “bel canto bona fides” and performances which “immediately seized attention with his full-bodied, brightly projected voice.” He will next be heard as King Charles II in the New York premiere of Carlisle Floyd’s newest opera, The Prince of Players, with the Little Opera Theatre of New York, and as the tenor soloist in Beethoven’s 9th Symphony with Performance Santa Fe, under the baton of Joseph Illick.
In the 2016 season, Mr.Simpson has brought his vocal power to bear in a variety of leading roles, including Dick Johnson in La fanciulla del West at Apotheosis Opera, Don José in the Maryland Symphony’s and in Spotlight on Opera’s productions of Carmen; and the tenor soloist in Carmina Burana with the Flint Symphony; as well as appearing in numerous concert series across the United States.
Recent seasons found Mr. Simpson making role and house debuts as the Kronprinz in Kevin Puts’ Pulitzer Prize winning opera Silent Night with Fort Worth Opera and singing a critically acclaimed performance as Paul in Korngold’s Die Tote Stadt with Opera Circle Cleveland. Cleveland Classical noted that he was “… splendid as Paul, negotiating a punishingly high and demanding vocal line with strength and agility.” Other recent appearances include the title role in Wagner’s Tannhäuser with Apotheosis Opera; Peter Quint in Britten’s The Turn of the Screw and Rodolfo in La bohème with Hub Opera. DC Theater Arts praised his “smooth, deeply rich tenor voice and a powerful presence as the poet Rodolfo” and noted his dramatic abilities as “exceptional”.
Mamma, quel vino
Turiddu's heartfel farewell from Mascagni's Cavalleria Rusticana
"The performers arrived, and soon the small basement was filled with the sound of the young tenor Nicholas Simpson singing the title role — loudly and clearly, and without any traces of the so-called “Bayreuth bark” that older singers sometimes use to project over the orchestra in large opera houses. The orchestra and the chorus soon reached a Wagnerian fever pitch." –New York Times, July 28
"Tenor Nicholas Simpson was a full-throated hero who carried the role from beginning to end without strain."
–Voce di Meche
"The opera (Die Tote Stadt) is something of a rarity, probably because of the challenges of dealing with the eerie subtleties of its plot, its demand for a Heldentenor to sing the role of Paul, and its opulent 1920s orchestration....Tenor Nicholas Simpson was splendid as Paul, negotiating a punishingly high and demanding vocal line with strength and agility.” –Cleveland Classical
Enée's aria from Les Troyens by Berlioz
The Prize song from Wagner's Die Meistersinger von Nürnberg