Gerald Thompson is represented by Rayfield Allied worldwide.
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His mercurial voice has real beauty of tone and plenty of room at the top...Opera Britannia
American countertenor, Gerald Thompson, begins the season in the world premiere of Shell Shock – A Requiem of War by Nicholas Lens and Nick Cave at La Monnaie, a work commissioned to commemorate World War I. With this, he draws 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, Hegai Esther at New York City Opera and his commended Royal Opera House, Covent Garden, debut as The Dog The Cunning Little Vixen under the baton of Charles Mackeras.
Recent successes demonstrate Mr. Thompson’s versatility as a singer who is also at home in early music, where he has been much in demand as an interpreter of Handel. Included is his double-barrelled New York debut with both New York City Opera as Guido Flavio and The Metropolitan Opera as Tolomeo Giulio Cesare; he returned to The Metropolitan Opera for Bertarido (cover) Rodelinda, which he previously sang with great success at Pacific Opera Victoria and at Canadian Opera Company under the baton of Harry Bicket: “Gerald Thompson’s tone and virtuoso passagework well suited the tormented Bertarido and made for a hair-raising account of Vivi, tiranno!” raved Opera News.
Other San Francisco Opera main stage roles include Prince Orlofsky Die Fledermaus, a role he later sang at Edmonton Opera, and Unulfo Rodelinda, a role he also sang at Portland Opera and revived for his European debut in Bilbao with Opera Barroca.
Die Fledermaus, Edmonton Opera
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
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
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
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
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
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
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