Ron Loyd, baritone
Recognized by The New York Times as a “robust baritone” and “agile comedian” and by The Sondheim Review for his “opulent baritone and nuanced phrasing,” baritone RON LOYD has been praised for thoughtful portrayals and versatility on operatic, concert, and musical theatre stages across the United States.
Notable performances of recent seasons include his Carnegie Hall debut as KUNZ GILGENSTOCK in Richard Strauss’ Feuersnot with the American Symphony Orchestra under the baton of Leon Botstein, a house debut with Winter Opera St. Louis as FORD in Verdi’s Falstaff, a return to Mobile Opera as TONIO in Leoncavallo’s Pagliacci, his seventh role with Albuquerque’s Opera Southwest as LEPORELLO in Don Giovanni, bass soloist for Beethoven’s NINTH SYMPHONY with the Ridgefield Symphony Orchestra under the baton of Gerald Steichen, and encore performances of Sondheim’s demon barber in LOOK Musical Theatre’s remounted production of SWEENEY TODD, which garnered the distinction of Tulsa’s 2014 “Best Night of Theatre” from The Tulsa World.
Critical acclaim was also garnered after his role debut of RIGOLETTO with Salt Marsh Opera from Connecticut’s The Day who wrote “it was the vocal power and characterizations by Loyd, in the title role, that carried the night. Physically compelling in his characterization…Loyd mined dramatic material at every turn, whether cowering, raging or pouring affection on Gilda. His seething musing on his fate, to be mocked daily by those who stand straight and tall, ‘Pari siamo,’ came across as a Shakespearean soliloquy writ larger than life.”
An advocate for new opera, Ron is often recruited for first readings of new American works with organizations such as Music-Theatre Group (The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare) and Ardea Arts (BOUNCE) and was featured on Opera America’s 2016 New Opera Showcase as RASHEED in A Thousand Splendid Suns, a new opera by American composer Sheila Silver and librettist Stephen Kitsakos based on Khaled Hosseini’s New York Times best selling novel. Produced by American Opera Projects and led by American conductor Sara Jobin, the new work is on track for a stage premiere at Seattle Opera in 2020.
In recent seasons, Ron was guest soloist with Mid Atlantic Symphony Orchestra and Opera Delaware for STARRY NIGHT OPERA, a concert of operatic favorites at The Freeman Stage in Delaware, and returned to Missouri Symphony for Beethoven’s NINTH SYMPHONY. Ron also added the title role debut of Verdi’s MACBETH to his repertoire with New Hampshire’s Raylynmor Opera, debuted with the Cambridge Symphony Orchestra as baritone soloist in Michael Tippett’s A CHILD OF OUR TIME, and returned to Mid Atlantic Symphony for holiday season concerts in Maryland and Delaware. Most recently, Ron performed the role of THOMAS BETTERTON in the NY stage premiere of Carlisle Floyd’s newest opera Prince of Players with the little OPERA theatre of NY to critical acclaim, returned to the Helena Symphony in Montana for MARCELLO in Puccini’s La Bohème, and reprised the title role of SWEENEY TODD in a return to Baltimore Concert Opera. Ron made his company debut in 2018 with St. Petersburg Opera as GERMONT in La Traviata, which led the Tampa Bay Times to write “Ron Loyd blossoms from his earlier passages as a sturdy supporting player to an indispensable rock. This metamorphosis, brilliantly written into the score, happens as Violetta agrees to break off the romance and his suspicion turns into admiration for her character. Time and again throughout the rest of the show, Loyd added depth to everyone else on stage, [which] allowed Loyd to emerge as the opera’s surprise star.”
Upcoming, Ron makes a company debut as FREDRIK in Sondheim’s A Little Night Music with Opera Ithaca, a role and company debut as PEACHUM in Kurt Weill’s Three Penny Opera with Syracuse Opera, and debuts with The Chorus of Westerly and New England Symphony Orchestra as bass soloist in Beethoven’s NINTH SYMPHONY.
Ron made his professional operatic debut as HORACE TABOR in The Ballad of Baby Doe with Amarillo Opera upon graduating from West Texas A&M University. After moving to New York City, he spent two seasons touring with Opera Iowa as BELCORE in L’Elisir d’Amore and as FIGARO in Il Barbiere di Siviglia in the US and China before apprenticing with Chautauqua Opera, Sarasota Opera, and Lake George Opera performing mainstage roles and cover assignments that included GERMONT and BARON DOUPHOL in La Traviata, FALSTAFF in Falstaff, MORALES in Carmen, PETER in Hansel and Gretel, and MILLER in Verdi’s Luisa Miller.
As a mainstage artist, company debuts quickly accumulated and include FIGARO in Le Nozze di Figaro with Nevada Opera and Opera Southwest; SHARPLESS in Madama Butterfly with El Paso Opera, Mobile Opera, Opera Southwest, Baltimore Concert Opera, and the Holder’s Festival in Barbados, West Indies; MARCELLO in La Bohème with Baltimore Concert Opera and Opera Southwest; SCHAUNARD in La Bohème with Des Moines Metro Opera, Pensacola Opera and National Lyric Opera; PETER in Hansel and Gretel with Nevada Opera; PING in Turandot with Mobile Opera and Pensacola Opera; FALKE in Die Fledermaus with Salt Marsh Opera; PAPAGENO in Die Zauberflöte with Pensacola Opera and Opera Southwest; MONTERONE in Rigoletto with Pensacola Opera; SCARPIA in Puccini’s Tosca with Baltimore Concert Opera; TONIO in Pagliacci with New Jersey Verismo Opera; GERMONT in La Traviata with Bronx Opera and the New Operafestival di Roma Symphony in Rome, Italy. POOH-BAH in The Mikado and BARON ZETA in The Merry Widow with Natchez Festival of Music; DON BARTOLO in Il Barbiere di Siviglia with Opera Southwest and Pensacola Opera; GUIDO in the world stage premiere of Un Racconto Fiorentino (Louis Gioia) with New Jersey Verismo Opera; and DULCAMARA in L’Elisir d’Amore with Salt Marsh Opera in which he “dominated the theater with his double-takes, his asides and tack-sharp comic timing that made a simple raised eyebrow speak volumes” (Connecticut’s The Day).