Praised for his clarity of tone and dashing stage presence, Reinhardt is a graduate of the prestigious Houston Grand Opera Studio, where he performed various roles including Arbace Idomeneo, Ernesto Don Pasquale, and Lucano Poppea. He has subsequently returned to the company to sing roles including Lysander in Britten’s A Midsummer Night’s Dream and Bénédict Béatrice et Bénédict.
After a busy 2012-13 season that included his San Francisco Opera debut as Tamino Die Zauberflöte, Chevalier des Grieux Manon (Theater Basel), Belmonte Die Entführung aus dem Serail (Garsington Opera) and Kudryas Katya Kabanova (Theater Basel), Reinhardt triumphed as Tamino in David Pountney’s new production of Die Zauberflöte at the Bregenz Festival.
Other roles include Alfredo La traviata (Opéra National de Lille), Fritz La Grande Duchesse de Gérolstein (Theater Basel opposite Anne Sofie von Otter), Rinuccio Gianni Schicchi, First Tenor in Weill’s Die Sieben Todsünden (Central City Opera), and an acclaimed Essex in Britten’s rarely performed Gloriana (Narodni Divalo in Prague). From 2009-2012 Reinhardt held a Fest contract at Oper Leipzig, where his performances included Tamino, Don Ottavio, Ferrando, Conte Almaviva, Lensky, Alfredo, Alfred Die Fledermaus and Jack O’Brien Aufstief und fall der stadt Mahagonny.
Engagements in the 2013-14 season include Reinhardt’s role debut as Tom Rakewell The Rake’s Progress (Oper Leipzig) and Tamino Die Zauberflöte in Leipzig and at the Bregenz Festival. Further ahead, roles include Lensky Eugene Onegin.
Reinhardt has worked with conductors including Patrick Summers, Paolo Arrivabeni, Harry Bickett, Stephen Lord, Ulf Schirmer, Jesus Lopez Cobos, William Lacey, Anthony Bramall and Matthias Foremny. He has also worked with some of the world’s leading opera directors including Peter Konwitschny, Christoph Marthaler, Jurgen Flimm, Laurent Pelly, Neil Armfield, David Gately, Irina Brook and James Robinson.
Norman Reinhardt is represented by Intermusica.
January 2014 / 284 words. Not to be altered without permission. Please destroy all previous biographical material.
Tamino Die Zauberflöte / Bregenzer Festpiele
Cond. Patrick Summers / dir. David Pountney
“Norman Reinhardt gave a Tamino who was quite substantially and stylistically confident”
"Norman Reinhardt gab dagegen den Tamino schon wesentlich stilsicherer"
Reinmar Wagner, Musik und Theater, July 2014
“Norman Reinhardt plays the Prince, as in the previous year. He is certainly a Tamino of noble emphasis”
“Den Prinzen mimt, wie im Verjahr, Norman Reinhardt. Ein Tamino von edler Emphase, gewiss”
Von Christoph Irrgeher, Wiener Zeitung, July 2014
Tamino Die Zauberflöte / Bregenz Opera Festival [DVD: Unitel Classica]
Cond. Patrick Summer / dir. Marie-Jeanne Lecca and Johan Engels
“The cast is captured well, not least the Tamino of Norman Reinhardt, impressive for the ringing heft of his voice.”
John Allison, Opera, June 2014
Tom Rakewell The Rake’s Progress / Oper Leipzig
Cond. Anthony Bramall / dir. Damiano Michieletto
“Overall, the singing was of a high standard; especially noteworthy was Norman Reinhardt as Tom…”
Irving Spitz, J Post, June 2014
“Norman Reinhardt, vocally no less insistent, characterised the rake in all its indecisiveness and passive attitude.”
Neues Deutschland, May 2014
Recording: Giuseppe Oberto / Verdi / OehmsClassics
Cond. Michael Hofstetter
“The most beautiful voice belongs to Norman Reinhardt, the figure [embodying] universal love and the desire for revenge. One can literally hear the tears of emotion in his voice, embedded in a Mediterranean copper-coloured tone.”
“Die schönste Stimme hat Norman Reinhardt, das tenorale Objekt der allgemeinen Liebes- und Rachebegierden. Er hat die buchstäbliche Träne in der Stimme, eingebettet in einen mediterranen Kupferton.”
Andreas Falentin, Klassik.com, December 2013
Die Zauberflöte / Wiener Symphoniker / DVD
Cond. Patrick Summers
“Singing Tamino is an American tenor whom I had not heard before but want to again. Norma Reinhardt possesses somewhat dark-hued lyric tenor with a strength and steadiness to intensify his vocal achievement.
Based on his work here, Reinhardt is a welcome addition to my collection.”
Tamino Die Zauberflöte / Bregenz Opera Festival
John T.Hughes, International Record Review, November 2013
“Tamino (with an excellent stand-in named Norman Reinhardt)...”
Derek Weber, Klassik Info,
“Gisela Stille (Pamina) and Norman Reinhardt (Tamino) lived up to expectations fully..."
Midous Grossmann, Magazin Klassik, July 2013
“It’s never easy for singers to register with individuality on the Lake Stage, which makes the musically ringing heft of Norman Reinhardt’s Tamino all the more impressive.”
John Allison, Daily Telegraph, July 2013
“Norman Reinhardt, standing in as Tamino, proved to be a great success…”
Susan Benda, Stuttgarter Nachrichten, July 2013
“Norman Reinhardt is… a very distinctive Tamino on his way to becoming a hero.”
Markus Thiel, Merkur Online, July 2013
“Norman Reinhardt sounds impressive…”
Walter Weidringer, Die Press, July 2013
“Both the acting and singing of tenor Norman Reinhardt convinced as Prince Tamino...”
RP Online, July 2013
“The American tenor Norman Reinhardt as Tamino was the premiere vocal sensation of the evening, with heroic substance in the voice, while at the same time differentiated and sensitive in the middle register…”
Der Landbot, July 2013
“Norman Reinhardt, predestined for Wagner, sang the role of Tamino with a metallic clear tenor…”
Kleine Zeitung, July 2013
Belmonte Die Entführung aus dem Serail / Garsington Opera
Dir. Daniel Slater
“Nelsen’s fellow American, Norman Reinhardt, made the perfect foil to her sophisticated Constanze, portraying Belmonte as a handsome (if gauche) Yank, in a lively tenor.”
Opera, August 2013
“Norman Reinhardt sings Belmonte with an attractive tenor voice that has a slightly baritonal quality.
New York Times, June 2013
“Tenor Norman Reinhardt had some good comic moments as Belmonte – bumbling, all-American and prone to careless talk when he pretends to be a football expert (“at the intermission it was one point each”) – and he sang attractively…”
Classical Source, June 2013
“Under William Lacey’s spry baton, Garsington casts the five virtuoso vocal parts more successfully than many a grander operatic address: Rebecca Nelsen (Konstanze), Norman Reinhardt (Belmonte), Susanna Andersson (Blonde), Mark Wilde (Pedrillo) and Matthew Rose (Osmin) are all unfazed by the huge compasses of their roles and the dizzying coloratura.”
Sunday Times, June 2013
“There’s a fine Belmonte in Norman Reinhardt (a real American… who makes… an elegant, secure sound).”
Daily Telegraph, June 2013
“Reinhardt posing as a gormless American tourist has a beautiful warm sound and showed superb handling of some acrobatic coloratura…”
Spear’s, June 2013
“Norman Reinhardt is her handsome Belmonte… pleasingly vigorous and upfront throughout.”
Rupert Christiansen, Daily Telegraph, June 2013
“The quartet of lovers – young singers but not inexperienced – do a fantastic job. Both Rebecca Nelsen (Konstanze) and Susanna Andersson (Blonde) confidently power through their passages of fiendish coloratura, while the two tenors, Norman Reinhardt (Belmonte) and Mark Wilde (Pedrillo), have nicely matched soft-edged voices.”
The Arts Desk, June 2013
Riccardo in Verdi Oberto
"Norman Reinhardt, who plays Oberto's adversary Riccardo, sings with a sleek, supple tenor with effortlessly brilliant high notes, as well as a timbre and tone that constantly reminded one of the most important Verdi tenor since the 1950's: Carlo Bergonzi."
Michael Arndt, Oberhessische Presse Marburg, December 2012
Benedict in Berlioz Beatrice et Benedict
Houston Grand Opera
“Reinhardt, dashing and witty, handled the role of Benedict with just the right amount of swagger and vulnerability."
Nancy Wozny, www.culturevulture.net, October 2008
“Reinhardt's Benedict and Joyce DiDonato's Beatrice are often laugh-out-loud funny. And their singing is swoon-worthy.”
D.L Groover and Lee Williams, Houston Press, November 2008
"And Reinhardt, tall, handsome and virile of voice, is a perfect partner for her."
Wes Blomster, Opera Today, November 2008
"Reinhardt brought not only a smooth, agile tenor but a gifted comedian's mugging and timing to the witty cool of Benedict."
Gregory Barnett, Opera News, October 2008