Gerald Thompson


"In the role of Bertarido, Rodelinda’s much-put-upon husband, Gerald Thompson deployed a voice of unusual warmth and resonance."

Seen and Heard International

"Thompson is robustly expressive throughout his role…"

Times Colonist

"Countertenor Gerald Thompson has a beautiful voice, which he used with unusual sensitivity"

The Oregonian

"His mercurial voice has real beauty of tone and plenty of room at the top..."

Opera Britannia

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German based American counter-tenor Gerald Thompson begins the 2018-19 season at the Gran Teatre del Liceu where he takes on the role of Unulfo Rodelinda.

As a highly sought after interpreter of Handel, recent highlights have included performances across two seasons at Staatstheater Stuttgart in the role of Polinesso Ariodante and previously he traveled to the Bolshoi Theatre for performances of Bertarido Rodelinda.

Recent successes for the artist include the world premiere of Shell Shock – A Requiem of War by Nicholas Lens and Nick Cave at La Monnaie which won him rave reviews. With this, he drew on his rich experience in contemporary music, having made his main stage debut at San Francisco Opera while he was an Adler Fellow in the role of Prince Go-Go Le Grand Macabre, the American premiere of Ligeti’s work. He appeared as Mike Teevee in Peter Ash’s operatic adaption of Charlie and the Chocolate Factory, The Golden Ticket, at Atlanta Opera, as Hegai Esther at New York City Opera and as The Dog The Cunning Little Vixen in his commended Royal Opera House, Covent Garden debut under the baton of Charles Mackeras.

This biography is for information only and should not be reproduced.

Rodelinda, Gran Teatre del Liceu

March 2019

Unulfo, the counselor of Bertarido and Rodelinda, was sung by countertenor Gerald Thompson, whose performance was convincing in every way.

Seen and Heard International, José M. Irurzun, 11 March 2019

The other vocal prop of the performance was the other countertenor. Unulfo, the faithful, is not a priori - a character of the same interest as the previous ones, but it was a true singing and acting performance by Thomson, that when he let his hair loose to dance at the end he gave a real show. But, above all, what a singer. I would not be surprised if one day he were a great Bertarido himself.

Mundoclassico, Jorge Binaghi, 8 March 2019

Great, by voice and mastery of style, countertenor Gerald Thomson (Unulfo).

El Pais, Javier Perez Senz, 3 March 2019

Shell Shock Requiem, La Monnaie

November 2014

Countertenor Gerald Thomson demonstrated nicely varied colours in the ensembles.

Guillaume Maijeur, Opera Gazet

Gerald Thompson, countertenor [and the other singers and La Monnaie's choir] thankfully complete this vocal cast of great quality.

Claude Jottrand, Forum Opera

... and a vocal cast of high quality, where the countertenor Gerald Thompson and soprano Claron McFadden shine.

Philippe Noisette, Les Echos

The countertenor Gerald Thompson also stood out in his strong interpretation of the unknown soldier ...

Elisabetta Pietrobon, GBOpera Magazine Italy

[One of the] fantastic, shining, clearly enunciating and masterfully present singers [was] countertenor Gerald Thompson.

Wiebke Hüster, FAZ

Die Fledermaus, Edmonton Opera

January 2014

The most interesting casting was the counter-tenor Gerald Thompson in the trouser-role of Orlofsky. It was a bold idea, and it works, though only because he has such a marvellous voice (one I would dearly like to hear in more conventional counter-tenor roles).

Mark Morris, Edmonton Journal

Teseo, Chicago Opera Theatre

April 2012

As Egeo, whose attraction to Agilea leads him to become ensnared by Medea’s wiles, countertenor Gerald Thompson was a worthy semi-villain, characterizing well and cutting loose with some imposing top notes in his bravura aria, Voglio stragi, e voglio morte.

Lawrence A. Johnson, The Classical Review

In the black-hatted role of Egeo, the cad who tosses Medea aside and commandeers Agilea from her true love, countertenor Gerald Thompson displayed vocal warmth that nearly made one forget the king’s dastardly intent.

Lawrence B. Johnson, Chicago on the aisle

The Cunning Little Vixen, Royal Opera House

March 2010

Of the many smaller roles, countertenor Gerald Thompson stood out for his attractively sung Dachshund. Although he is perhaps more famous for the stunning Sesto (sic) which he sang in the Metropolitan Opera's Giulio Cesare back in 2007, his mercurial voice has real beauty of tone and plenty of room at the top, which ordinarily is the perennial weakness of most protagonists in this vocal category.

Antony Lias, Opera Britannia

Rodelinda, Pacific Opera Victoria

November 2010

Then there was some fine singing to be heard, notably from two exceptionally talented countertenors. In the role of Bertarido, Rodelinda’s much-put-upon husband, Gerald Thompson deployed a voice of unusual warmth and resonance. In the brilliant aria “Vivi, tiranno,” which Handel added to the score a few months after the opera’s 1725 premiere, he dispatched the rapid passage-work with phenomenal accuracy, if not consistently the fullest tone, and accomplished cadential flourishes of positively volcanic power. The touching segue into his first aria, “Dove sei,” might perhaps have been managed with more delicacy, but altogether this was a commanding assumption of one of Handel’s finest alto roles.

Bernard Jacobson, Seen and Heard International

Thompson is robustly expressive throughout his role… He is deeply moving in his first aria (the famous Dove sei) and in his gorgeous duet with Paulin, and thrilling in his final aria (Vivi tiranno!), a virtuosic tour de force that earned the evening's most thunderous plaudits.

Kevin Bazzana, Times Colonist

La Calisto, Portland Opera

March 2009

Countertenor Gerald Thompson has a beautiful voice, which he used with unusual sensitivity, especially in his duets with Diana.

David Stabler, The Oregonian

Giulio Cesare, Glimmerglass Opera Festival

August 2008

We see Tolomeo played by the counter tenor Gerald Thompson with his retinue. The casting of Thompson was pure brilliance, for the combination of his figure, mannerisms, and voice produced the antithesis of what one would normally associate with a powerful King Tolomeo.

Lew Schneider, Musicweb International

Rodelinda, Portland Opera

February 2008

Arguably, the “discovery” of this production was countertenor Gerald Thompson as “Unulfo.” We have come a long way since pleasant rarities like Russell Oberlin, let me tell you! Mr. Thompson has an uncommonly impressive instrument for this Fach, full-bodied, expressive, responsive, capable of every demand that Handel asks of it. Our singer absolutely and thrillingly nailed every sixteenth note of the (extremely) rapid passage work with fiery precision. Moreover, he displayed real heart in his slower parlando passages. So accomplished was he, that I found myself wishing that he were the one singing the incomparably lovely “Dove Sei,” one of leading man “Bertarido’s” big set pieces.

James Sore, Opera Today

Countertenor Gerald Thompson was superb as Unulfo, the nobleman who befriended Bertarido and helped Rodelinda to save him. Thompson whipped through some devlishly tricky arias with panache, completely winning over the audience en route.

James Bash, Northwest Reverb

Gerald Thompson's Operatic Repertoire


The Golden Ticket (Mike Teavee)


A Midsummer Night's Dream (Oberon)


La Calisto (Endimione) 


Montezuma (Narves


Rodelinda (Bertarido, Unulfo)
Giulio Cesare (Tolomeo, Sesto,
Ariodante (Polinesso)
Orlando (Medoro)
Flavio (Guido)
Teseo (Egeo)


Hansel and Gretel (Hansel)


The Cunning Little Vixen (Lapák
the Dog)


Shell Shock (The Missing, The
Soldier, The Deserter)


Le Grand Macabre (Prince Go-Go)


La finta giardiniera (Don Ramiro)


Die Fledermaus (Orlovsky)


Esther (Hegai)

Gerald Thompson's Concert Repertoire




Canticle II - Abraham and


Membra Jesu Nostri


Neun Deutsche Arien


Der aus der Löwengrübe errettete
Daniel (Daniel)

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