Richard Paul Fink has been acclaimed internationally as a leading dramatic baritone at such theaters as the Metropolitan Opera, Deutsche Oper Berlin, Vienna State Opera, Berlin State Opera, Opéra National de Paris, San Francisco Opera, Houston Grand Opera, Washington National Opera, San Diego Opera, Hamburg State Opera, Théâtre du Capitole in Toulouse, Sydney Opera House, and at the Bregenz and Ravinia Festivals. His repertoire includes some of the most challenging roles of the baritone canon, such as the title role in Wagner’s Der Fliegende Hollaender, Telramund in Wagner’s Lohengrin, Don Pizarro in Beethoven’s Fidelio, the title roles in Verdi’s Nabucco and Rigoletto, Iago in Otello, Scarpia in Puccini’s Tosca and Gerard in Giordano’s Andrea Chenier.
In recent seasons, Fink has sung Geisterbote in Die Frau ohne Schatten at the Metropolitan Opera; Alberich in Das Rheingold, Siegfried and Gotterdammerung at the Metropolitan Opera under James Levine and the Vienna State Opera under Sir Simon Rattle; Alberich in Das Rheingold and Kurwenal in Trsitan und Isolde at the Tearo La Fenice in Venice; Vodnik in Rusalka at the Teatro di San Carlo in Naples, Houston Grand Opera and Canadian Opera Company; Henry Kissinger in Nixon in China at the Metropolitan Opera, Dallas Opera, San Diego Opera and Lyric Opera of Kansas City; Telramund in Lohengrin at the Houston Grand Opera; Amonasro in Aida at the Seattle Opera; Ulysses S. Grant / Nicholas Katzenbach in Glass’s Appomattox at the Washington National Opera; the title role in Britten’s Noye’s Fludde at the Los Angeles Opera; Don Pizarro in Fidelio and the title role in Wozzeck at the Santa Fe Opera; the title role in Der Fliegende Hollaender at the Calgary Opera; and Jochanaan in Salome at the Cape Town Opera.
Fink has been especially identified for his performances as Alberich in Wagner’s Ring Cycle, a role that he has sung on many occasions at the Metropolitan Opera under Maestro Levine. He sang his first Alberich for the Dallas Opera and was subsequently invited to perform the role in 2000 for the Seattle Opera and in 2006 for the Canadian Opera Company. Fink made his debut with the Los Angeles opera as Alberich in 2010 and sang Alberich in Das Rheingold for the San Francisco Opera in 2008. He has also been highly praised as Klingsor in Wagner’s Parsifal, a role he has sung under some of today’s most imminent conductors, such as James Levine, Claudio Abbado, Christoph Eschenbach, James Conlon and Valery Gergiev. Fink has participated in two very prestigious world premieres: John Harbison’s The Great Gatsby at the Metropolitan Opera under James Levine and John Adam’s Dr. Atomic at the San Francisco Opera under Donald Runnicles. He also starred in the latter work’s Chicago premiere and European premiere in Amsterdam, as well as in the Metropolitan Opera’s new production.
Richard Paul Fink began his professional career with the Houston Grand Opera, where he participated in twelve productions and won particular acclaim as Telramund, Jochanaan, Vodnik and Klingsor in a new production of Parsifal staged by Robert Wilson. He was soon a frequent guest at many other North American theaters, including the Dallas Opera, Florida Grand Opera, Canadian Opera Company, Portland Opera, San Diego Opera, Opera Theater of St. Louis, Boston Lyric Opera, Vancouver Opera and Opera de Montreal. Fink made his Washington National Opera debut in a revival of D’Albert’s rarely heard Tiefland and subsequently returned to the company as Orest in Elektra. He also debuted in San Francisco as Escamillo. Fink made his Metropolitan Opera debut in the 1997/98 season as Telramund in a new production of Lohengrin, under James Levine, and has since returned to the Met as Kurwenal in a new production of Tristan und Isolde, George Osborne in the world premiere of The Great Gatsby, Alberich in the Ring and Klingsor (all conducted by James Levine), as well as Abimelech in Samson et Dalila, Shakolovitzky in Khovanschina and Don Pizarro in Fidelio.
Also active on the concert stage, Fink has frequently appeared in concert with the Houston Symphony under Christoph Eschenbach. He made his debut with the San Francisco Symphony in concert performances of Fidelio and sang Stravinsky’s Oedipus Rex for the Seattle Symphony under Gerard Schwarz, Orff’s Carmina Burana at the Cincinnati May Festival under James Conlon, and Verdi’s Requiem in Houston under Robert Shaw.