When the Call Comes: 25 Roles Ready Within 24 Hours
Available for Immediate coverage / mainstage replacement in Major bass & baritone repertoire.
24-Hour Jump-In Readiness (maintained in sectional format and regularly rehearsed)
- Alfio
- Jochanaan
- Amonasro
- Balstrode
- Scarpia
- Germont
- High Priest of Dagon
- Méphistophélès
- Verdi Requiem
- Additional repertoire available upon inquiry
Organize. Strategize. Prioritize. Mobilize. Finalize
What “Jump-In” Means
- On-demand talent ready to perform at a moment’s notice
- Seamlessly steps into roles with confidence and precision
- Minimal prep, maximum impact
-
Highly adaptable to direction, tone, and production needs
- Trusted to keep schedules tight and productions on track
THE CORE 25 JUMP-IN OPERA ROLES
HELDENBARITON / DRAMATIC BARITONE
These are your leadership-roles: commanding, psychologically rich, orchestra-cutting.
-
The Dutchman — Wagner :
134 phrases (3 productions) -
Jochanaan — Strauss :
60 phrases (30 performances) -
Amonasro — Verdi :
100 phrases (57 performances) -
Scarpia — Puccini :
209 phrases (27 performances) -
Macbeth — Verdi :
218 phrases (3 performances) -
Balstrode — Britten :
101 phrases (18 performances) -
Pizarro — Beethoven :
(Fidelio) -
Nabucco — Verdi :
(recent production; strong branding role)
- The Dutchman — Wagner
134 phrases (3 productions)
- Jochanaan — Strauss
60 phrases (30 performances)
- Amonasro — Verdi
100 phrases (57 performances)
- Scarpia — Puccini
209 phrases (27 performances)
- Macbeth — Verdi
218 phrases (3 performances)
- Balstrode — Britten
101 phrases (18 performances)
- Pizarro — Beethoven
(Fidelio)
- Nabucco — Verdi
(recent production; strong branding role)
CHARACTER BARITONE (High-Demand, Dramatic/Comic Mix)
These roles activate both your intensity & your agility.
-
Rigoletto — Verdi :
290 phrases (13 performances) -
Germont — Verdi :
65 phrases (20 performances) -
Alfio — Mascagni :
Alfio — Mascagni -
Tonio — Leoncavallo :
(Prologue specialist) -
Four Villains — Offenbach :
(40/60/etc. phrase modules) -
High Priest — Saint-Saëns (Samson et Dalila) :
(Jump-in signature role — 30 hours notice story)
- Rigoletto — Verdi
290 phrases (13 performances)
- Germont — Verdi
65 phrases (20 performances)
- Alfio — Mascagni
22 phrases (13 performances)
- Tonio — Leoncavallo
(Prologue specialist)
- Four Villains — Offenbach
(40/60/etc. phrase modules)
- High Priest — Saint-Saëns (Samson et Dalila)
(Jump-in signature role — 30 hours notice story)
CHARACTER BASS / SERIOUS BASS
Where your authority, gravitas, and velvet-bottom register shine.
- Attila — Verdi :
- Zaccaria — Verdi
-
Méphistophélès — Gounod :
(47 performances) - Philip II — Verdi
- Raimondo — Donizetti (Lucia)
- Il Grand Inquisitor — Verdi (Don Carlo)
- Sparafucile — Verdi
-
Ramfis — Verdi :
105 phrases; recent jump-in performance (2025) -
Ramfis — Verdi
-
Timur — Puccini
-
Mustafà — Rossini (L’italiana in Algeri)
- Attila — Verdi
- Mefistofele — Boito
(signature dramatic-bass aura)
- Zaccaria — Verdi
- Méphistophélès — Gounod
(47 performances)
- Philip II — Verdi
- Raimondo — Donizetti (Lucia)
- Il Grand Inquisitor — Verdi (Don Carlo)
- Sparafucile — Verdi
- Ramfis — Verdi
105 phrases; recent jump-in performance (2025)
- Timur — Puccini
- Mustafà — Rossini (L’italiana in Algeri)
Reserve 5 Roles (Quick Review Roles + One Rising Flagship)
- Don Basilio : Il barbiere di Siviglia (Rossini)
- Thoas : Iphigénie en Tauride (Gluck)
- Riolobo : Florencia en el Amazonas (Catán)
- Leporello : Don Giovanni (Mozart)
- Michele : Il tabarro (Puccini) — Rising Flagship Role
Note : Videos, audio, and excerpt clips for each role coming soon
The 9 Oratorio / Symphonic
(Performed from Memory, with Deep Textual Understanding)
- Handel : Messiah (“Why do the nations…”)
- Beethoven : Symphony No. 9 (“O Freunde…”; Venice performance from memory)
- Verdi : Messa da Requiem (“Confutatis…”)
- Haydn : The Creation (Roles of Raphael/Adam)
- Mendelssohn : Elijah (“It is enough”)
- Bach : St. John Passion (Bass arias such as “Eilt, eilt…”)
- Bach : Mass in B Minor (Bass arias)
- Stravinsky : Oedipus Rex (Creon / The Messenger)
- Orff : Carmina Burana (Baritone solos including “Estuans interius”)
- Mozart : Requiem in D minor (“Confutatis…” / “Tuba mirum…”)
Note :
I perform nearly all major oratorio repertoire from memory.
My aim is always to remove the barrier of the score so the audience and conductor experience direct communication — facial expression, textual clarity, and expressive immediacy.
If I reference anything, it is only a printed page with key verbal cues or phrasing marks.
A conductor once told his chorus during rehearsal for the Verdi Requiem:
“He understands every word he sings.”
A background in Latin, along with sentence-diagramming of crucial text passages across opera and oratorio, ensures complete alignment of intention, meaning, and vocal delivery.
Daily Conditioning (as discussed)
- Marchesi Chromatic Scale : performed while a weighted hula hoop rotates around the waist, and while turning in a circle
- Short Runs : Vaccaj
- The Dotted Melody : Marchesi
- Custom “Pencil Fall” : Register Shift Exercise