Chad Armstrong        




A native of Saskatchewan, Canada, Chad Armstrong continues to receive acclaim as a distinct performer in productions throughout the USA and Europe.

This past year, Chad’s busy performance schedule brought him to Opera Theatre of Pittsburgh as the Count in a new English translation The Marriage of Figaro; Opera Tampa to cover the title role and sing the role of Marullo in Rigoletto, and the roles of Yamadori/Commissario in Madama Butterfly; Winter Opera St. Louis to sing the role of Count in Le nozze di Figaro; Western Plains Opera to sing Escamillo in Carmen; and Long Island Opera for a reprise of the title role in RigolettoHe was also presented by Jane Marsh and the Metropolitan Opera Guild to perform excerpts from Guillaume Tell and Rigoletto.

Other recent performances include Tiger Brown in Threepenny Operawith Amarillo Opera, Frank Maurrant in Street Scene with Oklahoma Baptist, Kofel in Strauss’ Feursnot with the American Symphony Orchestra at Carnegie Hall, and Figaro in Le nozze di Figaro with Western Plains Opera. Also in 2013, Mr. Armstrong joined NYC’s Gotham Chamber Opera to cover the role of Rappaccini in La hija de Rappaccini, and sang the baritone solo in Beethoven’s Symphony No. 9 with the Minot Symphony Orchestra.

The 2012 season brought Mr. Armstrong’s exciting debut in the role of Sharpless in Puccini’s Madama Butterfly with New Rochelle Opera.  He also returned to Western Plains Opera to sing Tonio in Pagliacci, and once again to NYC’s Dicapo Opera as John Sorel in The Consul.  In the Spring of 2011, Chad Armstrong made his debut with the Teatro Comunale di Bologna and the Teatro Luciano Pavarotti in Modena, singing the title role of Luigi Dallapiccola’s Il PrigionieroAs a winner of the 2009 Mezzo TV Festival and Competition in Szeged, Hungary, Mr. Armstrong made his debut with The National Moravian-Silesian Theatre, singing the role of John Donne in Marco Tutino’s Vita.  In addition to the performances in Ostrava, Czech Republic, the production was broadcast to over 40 countries from the final round of the competition in Hungary.

Opera Online hailed his Sonora in La Fanciulla del West with Dicapo Opera Theater as “outstanding,” pointing out his “strong stage presence, strong vocal delivery and natural acting abilities.”  Opera News said his Ping in Dicapo’s Turandot was “particularly impressive” and he was invited to reprise selections of the role in celebration of Puccini’s 150th birthday with the Opera Orchestra of New York under the baton of Maestro Francisco Bonnín in the Rose Theater at Lincoln Center. In New York City alone, engagements have included John Proctor in The Crucible, a brilliant run of Lescaut in Manon Lescaut, Tom Carter in the January 2010 production of Thomas Pasatieri’s Hotel Casablanca, and Pope Pius IX in the world premiere of Il Caso Mortara by Francesco Cilluffo.  For his Mercutio with National Lyric Opera, the Cape Cod Gazette applauded him as “a standout…besides stage savvy and animated presence, the artist possessed one of the finest voices in the cast.”  Other successes in 2009 were Mr. Fox in the NY premiere of Tobias Picker’s Fantastic Mr. Fox, Silvio in Pagliacci, Taddeo in L’Italiana in Algeri, and Marcello in Opera in the Hampton’s La Bohème.

A poised and polished concert performer and recitalist, Mr. Armstrong has made several Carnegie Hall appearances, most notably in 2008 as Baritone Soloist in Beethoven’s 9th Symphony.  For a concert in  March 2008 in NYC with Maestro Stephen Osgood, he presented selections from rarely-performed works of the 1920s and 30s commissioned for the Metropolitan Opera.  Other concerts have included such works as Puccini’s Messa di Gloria and Christof Bergman’s Piazza Navona.

Mr. Armstrong currently lives in New Jersey, with his wife, mezzo soprano Sara Louise Petrocelli.

NEWS:  Chad Armstrong makes three company debuts: Pittsburgh, St. Louis and Tampa, and triumphs in reprises of the title role in Rigoletto after an exciting debut in Annapolis. 


"The production was grounded by the performance of Chad Armstrong in the title role. Armstrong's baritone is of an intrinsically attractive quality, with a virile ring above the staff that easily dominated the aural environment... Armstrong characterized well physically too, without entirely concealing that he is hardly the withered ‘vegliardo’ Rigoletto calls himself." 

June 2013, Mark Thomas Ketterson

In addition to remarking about his “powerful singing” and “warm resonance,” The Capitol Gazette said there was no facet of Rigoletto’s character that was not evident in Armstrong’s masterful rendition.

Click throughout for press reviews of Chad Armstrong.