Dorian McCall

Baritone Dorian McCall, compelling singing actor with an ample and copiously colored legato, is recognized by his magnetic personality and emphatic musicality on stage and penchant for earlier and florid music. Mr. McCall is looking forward to returning to Pittsburgh Festival Opera in anticipation of next summer’s Adamo’s Lysistrata as Leonidas as well as a residency with Haymarket Opera. There he’ll cover a return to the beloved role of Polyphemus in Handel’s Acis and Galatea as well as Apollo in Handel’s Apollo e Dafne and Zoroastro in Handel’s Orlando. He has also been invited to sing Mozart’s Requiem, quite a different setting than his initial outing with Verdi’s. Dorian is a 2018 and 2019 MONCA Encouragement Award recipient, 2018 Naftzger Vocal Division winner, 2017 Career Bridges Encouragement Grant recipient as well as 2nd alternate Texoma region representative at the 2018 NATSAA competition. He is performing with the Chicago Symphony, Lyric Opera of Chicago, and Grant Park Music Festival choruses and has for several seasons. He has since continued his vocal development with Metropolitan Opera mezzo-soprano Victoria Livengood. Dorian is raring to return to the ballroom, where you can easily find him exploring the slinky saunter of Latin dance or the strong framing of a promenade.

Don’t miss Dorian in Acis and Galatea  - Get your tickets now! 

Q&A with Dorian McCall

Q: Who are you singing? Tell us about your character?

DMC: Along with singing in the ensemble for “Acis and Galatea,” I’ll be covering the roles of Polyphemus, the alarming, emotionally intense, oaf; and Apollo, the handsy God of music and prophecy... who ironically didn't see that ending coming.

Q: What do you love about the opera? 

DMC: Handel is a genius, yes. I am also a simple man with simple harmonic needs... that just happen to also be satisfied with brilliant counterpoint. Yes, the arias are good, but Handel is best experienced when multiple people are singing at once. Each and every chorus is an opportunity for the cockles of my heart to warm over anew. More so in the delightful duet(s) within the Trio. The suspensions and ornamental practices bowl me over every time.

Q: Is there something about your character or this opera that modern audiences can relate to?

DMC: Oh? Are my contemporaries not throwing boulders like Polyphemus at their rivals after being rebuffed? Just me? Oh. Ok. (This is off the record or so help you!)

Q: Favorite aria/chorus from the piece? 

DMC: Is it "Wretched Lovers" cause I get a solo? Is it "Ceae to beauty" because it's the better Polyphemus aria? Is it "Mourn all ye Muses" cause drama? Is it "Must I my Acis still bemoan" because trills and appoggiaturas? Is it "Love sounds the alarm" cause "Il mio tesoro" predecessor? Is it "Hush, ye pretty warbling choirs" cause also trills? Only God knows.

Q: What is it like to prepare for film? Are you ready for your close-up? 

DMC: I actually just did a series like this with Pittsburgh Festival Opera this summer, but I had to do all of the filming myself with a track. So this HAS to be less difficult, which I look forward to! The most difficult part will be hiding my pleasure with the music. Some of it will be appropriate on my face for the moment, some of it will absolutely NOT!

Q: These operas center around a theme of transformation. How has the pandemic forced you to change? Have there been any silver linings?

DMC: I had to slow down, I had to take inventory, I had to find my (waning) peace, I had (time) to practice. Meaning, I was finally able to start solidifying a vocal transition at an age where the current iteration of the industry is insisting that I'm about to age out. The only silver linings, that I'm aware of thus far, are being home with my mother for 4 months straights (where usually she's begging for anywhere closer to 4 days) and my voice finally doing the things my team have believed it could do for years.

Q: On the topic of rep from the Age of Enlightenment, do you have a dream role? Is there an opera you wish audiences could hear? Do you love Handel? If you could steal any role from another voice type what would it be?

DMC: Since we mentioned Handel and stealing roles, I want Juno from Semele SOLELY to sing "Iris, hence away!" There's a special glint in my eyes when I hear the words "Snatch her; tear her in thy fury!"

Q: As it’s Haymarket’s 10th anniversary, do you have a favorite Haymarket memory?

DMC: David Govertsen entering as the Dragon is an image burned into my psyche; the man cleans up nice! As well as the meticulously choreographed catfight betwixt the ladies in that same production.