Hailed for his “powerful, darkly-hued voice and nobility of phrasing and carriage” (Cleveland Classical), Lawson Anderson is quickly establishing himself as one of the leading bass-baritones of his generation. A former management consultant with an MBA from Columbia Business School, Anderson has made waves in the opera world, coming off of a First Prize win at the Gerda Lissner Foundation’s International Vocal Competition, his Carnegie Hall debut as Wotan in Das Rheingold, and triumphant runs in the title roles of Don Giovanni with the Cleveland Opera and Le nozze di Figaro with the Berlin Opera Festival.
Anderson joined the ensemble at the Semperoper Dresden in the 2019/20 season, where he has since appeared in such works as Die Zauberflöte, Tosca, La boheme, Le nozze di Figaro, La traviata, Cosi fan tutte, Les Huguenots, Don Carlo, and Eugene Onegin.
In the 2018/19 season, Anderson made debuts as Méphistophélès in Gounod’s Faust in New York City and as Bottom in A Midsummer Night’s Dream at the Nevill Holt Opera Festival in London. He also sang Figaro with the Music Academy of the West, under the baton of James Conlon, as well as Dr. Falke in Die Fledermaus and Colline in La boheme with Opera Tampa. Other recent engagements have included appearances in Atlanta as the bass soloist in Handel’s Messiah, in Italy as the bass soloist in Verdi’s Requiem, in Mexico City as Rocco in Fidelio, and at the Nevill Holt Opera Festival as the title role in Le nozze di Figaro.
In addition to his First Prize win at the Gerda Lissner Vocal Competition, Lawson Anderson was also the recipient of the 2017 Opera Index Top Prize Arthur E. Walters Memorial Award, as well as a Grand Finalist and Winner of the 2017 Anita Cerquetti Voice Competition, a 2017 Grant Winner from the Giulio Gari Foundation, a 2017 Eastern Region Finalist in the Metropolitan Opera National Council Auditions, and a Finalist of the 2017 Hans Gabor Belvedere finals in Moscow.