Owen McIntosh
Described by the New York Times as a “lovely, tender high tenor” in one concert and “appropriately brash” in another, Owen McIntosh is widely know for the color and creativity he brings to the stage as a soloist artist and chamber musician. A native of remote Northern California, Mr. McIntosh has enjoyed a diverse career ranging from bluegrass to reggae, heavy metal to art song, and opera to oratorio. Recent solo engagements include; Monteverdi's L'Orfeo with Apollo's Fire, the modern premiere of Aliotti’s oratorio Santa Rosalia with New York Baroque Incorporated, Bach’s St. John Passion with Tenet, Mozart's Die Zauberflöte with Boston Baroque, Haydn's Chamber opera L'isola Disabitata with the American Classical Orchestra, the Monteverdi Vespers of 1610 with Apollo's Fire and Green Mountain Project, Bach's' St. Matthew Passion with Grand Rapids Symphony, and a performance and Grammy nominated recording of il Ritorno d'Ulisse in Patria with Boston Baroque. Mr. McIntosh holds a Bachelor of Music degree from CSU Stanislaus and a Master of Music Degree from the New England Conservatory of Music.
"clarion instrument supported by both sure musical instincts and stage presence"
-Matthew Guerrieri, Boston Globe, 2012
-Matthew Guerrieri, Boston Globe, 2012
"lovely, tender high tenor"
- Anthony Tommasini, New York Times 2015
- Anthony Tommasini, New York Times 2015
“His voice seemed to caress the text and notes of the third strophe, providing a pianissimo and heartbreakingly tender resonance on “sa belle face clere”
-Rebecca Marchand,
Boston Music Intelligencer, 2014
-Rebecca Marchand,
Boston Music Intelligencer, 2014
"lyric tenor singing with strong emotional insight to the text, stood out with his aria The Lord preserveth."
-Keith Powers, Boston classical review, 2013
-Keith Powers, Boston classical review, 2013
"If there was a single shining jewel on this program, though, it was Ockeghem’s “Mort, tu as navré de ton dart.” Written as an elegy for Binchois, this is a somber, soulful piece, and it proved an ideal vehicle for the tenor Owen McIntosh. His sound here was glorious–an even, solid tone with just a hint of tang at its top, stressing the urgency of the music, but never threatening to break. It was McIntosh’s intense sorrow that carried this work, but he was well supported by the other tenors of Blue Heron. An unusual but shatteringly effective aspect of “Mort” is that it has the accompanying voices repeat the final line of the Sequence from the Requiem mass against the French verses of the melodic voice. The warm, tight accompaniment of the Blue Heron tenors in the refrain buttressed McIntosh’s florid sighing to create a deeply moving performance."
-Eric C. Simpson, New York classical review, 2015
-Eric C. Simpson, New York classical review, 2015
"Lockington led a performance of emotional depth and narrative breath. Bach's counterpoint, despite so many musicians, remained clear. But sections such as the betrayal of Jesus by Judas and even individual arias, such as the tenor solo, "I want to keep awake near my Jesus," sung passionately by Owen McIntosh, were exciting times of drama through musical contrast."
-Jeffrey Kaczmarczyk, Mlive, 2014
-Jeffrey Kaczmarczyk, Mlive, 2014