Jonathan Woody

Bass-baritone Jonathan Woody is a sought-after performer of early and new music in New York and across North America. In increasing demand as a soloist, Jonathan has made appearances in recent seasons with historically-informed orchestras such as Boston Early Music Festival, Tafelmusik Baroque Orchestra, Bach Collegium San Diego, Portland Baroque Orchestra and New York Baroque Incorporated. In the 2017/18 season, Jonathan appeared with Apollo’s Fire on a national tour of Monteverdi’sL’Orfeoin the role of Caronte and participated in the Britten-Pears Young Artist Programme in Aldeburgh, UK.

Jonathan is also committed to ensemble singing at the highest level and is regularly featured as a member of the Grammy®-nominated Choir of Trinity Wall Street, where he has earned praise as “charismatic” and “riveting” from the New York Times for his solo work. In 2019, Jonathan will join the Clarion Music Society and the English Concert on a four-nation tour of Handel’s Semele, covering the roles of Somnus and Cadmus. An avid performer of new music, Jonathan has premiered several works in recent years, including Ted Hearne’s The Source (2014), a seminal work on the subject of Pvt. Chelsea Manning’s actions regarding the leak of classified U.S. documents. He is also featured on the cast recording of that work (New Amsterdam) and has reprised it  in 2016 at LA Opera’s REDCAT and SF Opera Lab in 2017. Other recent premieres include works by Ellen Reid (p r i s m),  Missi Mazzoli (Breaking the Waves), Du Yun (2017 Pulitzer-Prize winner Angel’s Bone), Zachary Wadsworth and Laura Schwendiger. Festival appearances include Staunton Music Festival, Portland Bach Festival, Carmel Bach Festival (as 2013 Virginia Best Adams Fellow), Oregon Bach Festival (as 2014 Vocal Fellow), American Bach Soloists Academy, and Amherst Early Music (appearing with New York Polyphony).

On the operatic stage, Jonathan has joined Opera Lafayette, Gotham Chamber Opera, New Amsterdam Presents and Beth Morrison Projects for recent productions, and he was a 2015-2016 Vocal Fellow for American Opera Projects’ Composers and the Voice forum. Jonathan has recorded with the Choir of Trinity Wall Street under the Musica Omnia label and is featured on their Grammy® recording of Israel in Egypt. Other recording credits include Boston Early Music Festival’s St. Matthew Passionof J. Sebastiani (RadioBremen), New York Polyphony’s Roma Æterna(BIS Records), and the Choir of Trinity Wall Street’s Missa Gentis Humanae (Musica Omnia). Jonathan’s musical pursuits extend beyond his voice, and in recent seasons he has been commissioned as a composer for groups including the Handel & Haydn Society and the Uncommon Music Festival. Jonathan enjoys a richly varied life in the arts based in Brooklyn, NY, and holds degrees from McGill University and the University of Maryland, College Park.

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Current & Upcoming Performances

3
April
2019
Handel's Semele
Somnus (Cover)
English Concert and Clarion Music Society
Paris
Théâtre des Champs-Élysées
5
April
2019
Handel's Semele
Somnus (Cover)
English Concert and Clarion Music Society
London
Barbican
7
April
2019
Handel's Semele
Somnus (Cover)
English Concert and Clarion Music Society
Gateshead, UK
Sage
10
April
2019
Handel's Semele
Somnus (Cover)
English Concert and Clarion Music Society
Hanover, NH
Hopkins Center, Dartmouth College
12
April
2019
Handel's Semele
Somnus (Cover)
English Concert and Clarion Music Society
Ann Arbor, MI
Hill Auditorium
14
April
2019
Handel's Semele
Somnus (Cover)
English Concert and Clarion Music Society
New York
Carnegie Hall
16
April
2019
Handel's Semele
Somnus (Cover)
English Concert and Clarion Music Society
Philadelphia
Annenberg Center

Past Performances

Past Performance Schedule Coming Soon

Handel’s Messiah

“For ‘The Trumpet Shall Sound,’ one of several airs given over to the expressive bass Jonathan Woody, the trumpeter John Thiessen ascended the pulpit, playing the extensive solo from memory.” – NY Times – Dec. 17, 2015

“The charismatic bass-baritone Jonathan Woody was riveting in a number of solos, his voice nimble and focused in the runs.” – NY Times – Dec. 8, 2013

 

Monteverdi’s L’Orfeo

“On the lower end of the voice range, Jonathan Woody as Charon and Mischa Bouvier as Pluto were especially noteworthy, their rich bass-baritones adding depth and resonance to their roles.” – Cleveland.com (Cleveland Plain-Dealer) – April 17, 2018

“Bass baritone Jonathan Woody was a fine Caronte (Charon) and baritone Mischa Bouvier a sturdy Plutone.” – San Francisco Classical Voice – April 23, 2018

 

Tallis’ Lamentations

“In the second, and longest, of the Tallis’ Lamentations, Jonathan Woody, one of the guest-artists, either got carried away with emotion, or was briefly brought to the fore by shifts in the larger texture; however it came about, his bold, apparently spontaneous coloring of key words having to do with exile, suffering, and guilt showed what might—and should—have been.” – ZealNYC.com – February 26, 2018

Schumann’s Dichterliebe

“Woody, a celebrated young American baritone, sang “Dichterliebe” (“Poet’s Love”), Schumann’s cycle of 15 songs on verses by Heinrich Heine, with great clarity – a German-speaker would not have needed to follow the printed texts – and wide expressive range, from hushed and lovelorn to stentorian to comic and folksy.” – Richmond Times-Dispatch – September 18, 2017

 

Handel’s Israel in Egypt

“A noteworthy exception was bass-baritone Jonathan Woody from Trinity Church Wall Street, who sang with resonance and authority.” – Washington Post – May 18, 2015