Since his professional debut with Opera Theatre of Saint Louis, Harold Meers has established himself as one of the outstanding American lyric tenors performing today. He has garnered critical and popular praise for performances at the principal lyric venues of North America, including the Metropolitan Opera, San Francisco Opera, Opera Company of Philadelphia, Minnesota Opera, Opera Theater of St. Louis, Boston Lyric Opera, Glimmerglass Opera, Opera Omaha, Nashville Opera, New Orleans Opera, Baltimore Opera, Cleveland Opera, and Virginia Opera. Engagements for the 2016/17 season include Pinkerton in Madama Butterfly with the Kentucky Opera, Don José in Carmen with Opera Santa Barbara, Cassio in Otello with the Filarmónica de Jalisco, and a concert performance of Puccini’s La Bohème with the Helena Symphony Orchestra.
Meers’ engagements for the 2015/16 season included his debut in the title role of Offenbach’s Les Contes d’Hoffmann with Madison Opera, under the baton of John DeMain, and Luigi/Rinuccio in Puccini’s Il Trittico with the Utah Opera Festival. He also returned to the Metropolitan Opera as Cassio (cover) in the company’s new production of Verdi’s Otello. In the 2014/15 season, Meers joined the roster of the Metropolitan Opera as Rodolfo (cover) in Puccini’s La Bohème and took his acclaimed Rodolfo to San Diego Opera for a production that celebrated the company’s 50th anniversary. Highlights from the 2013/14 season included Nadir in Les Pecheurs de perles with Nashville Opera, Pinkerton in Madama Butterfly with Opera Columbus, and acclaimed appearances as Macduff in Verdi’s Macbeth with the Minnesota Opera, an Opera in the Park gala with Madison Opera, and in concert with the Madison Symphony Orchestra.
In recent seasons, Mr. Meers has appeared in La Bohème with the Minnesota Opera, Des Moines Metro Opera and Sarasota Opera, Madama Butterfly with Nashville Opera and Amarillo Opera, La Rondine with the Des Moines Metro Opera, and Carmen with the Charleston Symphony Orchestra, opposite Denyce Graves. Further appearances of note include Narraboth in Salome with Opera Cleveland, the Duke in Rigoletto and Rinuccio in Gianni Schicchi with Opera Santa Barbara, Nemorino in L’elisir d’amore with Chautuaqua Opera, and Alfredo in La Traviata with Piedmont Opera.
Also an accomplished artist on the concert stage and in recital, Meers’ recent forays into concert masterworks have included Rachmaninoff’s The Bells with the Madison Symphony Orchestra, under John DeMain, and Verdi’s Requiem, Beethoven’s Symphony No. 9 and Handel’s Messiah with the Charleston Symphony Orchestra. Additional highlights from Meers’ concert work include Verdi’s Requiem with the Illinois Symphony Orchestra and Beethoven’s Symphony No. 9 with the Sarasota Orchestra and Alabama Symphony Orchestra, in addition to performances with the Elgin Symphony Orchestra, Helena Symphony Orchestra, Freemont Symphony Orchestra, Sinfonia da Camera, and Southeastern Pennsylvania Symphony Orchestra.
San Francisco Classical Voice singled out the tenor for praise on the occasion of his 2005 debut with San Francisco Opera in Britten’s Billy Budd, exclaiming, “It’s easy to predict that future stars of opera will refer to the San Francisco Billy Budd as their first role of note, especially Harold Meers.”