"The voice itself is both beautiful and immediately engaging, virile but distinguished by an appealing vulnerability and urgent catch in the timbre."
"The voice itself is both beautiful and immediately engaging, virile but distinguished by an appealing vulnerability and urgent catch in the timbre. His German is impeccable, too, his way with Tieck’s words natural, engaged and engaging. "
"In the title role [of Billy Budd], John Chest sounded tenorishly clear and agile, reserving a fuller, fleshier sound for the ‘Darbies’ solo."
American baritone John Chest is winner of the prestigious 2010 Stella Maris International Vocal Competition and was a finalist in the BBC Cardiff Singer of the World competition in 2017. He has recently been awarded a Richard Tucker Music Foundation Career Grant. Until September 2016 he was a member of the ensemble at the Deutsche Oper Berlin, where his roles included the title role of Billy Budd in a new production by David Alden, Valentin Faust, Ford Falstaff, Silvio Pagliacci, Figaro Il barbiere di Siviglia, Papageno Die Zauberflöte, Guglielmo Cosi fan tutte, and Il Conte Almaviva Le nozze di Figaro.
Highlights of the 2018-19 season include his house debuts at the Teatro Real Madrid (Valentin Faust) and Den Norske Opera (Belcore L’elisir d’amore), as well as his role debut as Heathcliff in Bernard Hermann’s Wuthering Heights (Opéra national de Lorraine).
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Title role, Billy Budd
San Francisco Opera, September 2019
In the title role, baritone John Chest made an impressive company debut with a performance of freshness and vitality. Billy doesn't have much personality - he's a blank, beautiful screen onto whom the other men on board can all project their desires and fears - but Chest's singing, especially in the lovely late ballad "Billy in the Darbies" created a telling simulacrum.
Joshua Kosman, San Francisco Chronicle, 9 September 2019
Striking a balance between boldness and vulnerability, easy-on-the-eyes baritone John Chest made a splendid impression in his SFO debut as Billy Budd, who arrives, Messiah-like, and quickly gains the admiration of his fellow hands on deck, who have been beaten down by the system and who see in "Baby" Billy their innocence that has been lost.
With warmth and smooth resonance, Chest's Billy would make anyone fall for him; he was especially moving in his Act 2 final monologue.
James Ambroff-Tahan, San Francisco Examiner, 9 September 2019
The title role was sung with winning exuberance by baritone John Chest, making his SF Opera debut. Chest's Billy was lithe and charming, giving plausibility to the handsome sailor's popularity among the sailors (and attractiveness to Captain Vere). Even more to the point, Chest's singing gave Budd an exciting presence, almosdt every vocal line imbued with vitality. The ballad-like lament that Billy sang in the moonlight as he waited for the morning of his death (accompanied by a lovely piccolo solo) was delivered with a plangency that conveyed Billy's still-innocent understanding of the darkness and beauty of the world.
Nicholas Jones, San Francisco Classical Voice, 9 September 2019
The title role was interpreted by American baritone, John Chest, and with panache. “Beauty,” as Budd is called by the malevolent enemy Claggart, is good as he is handsome, pure as he is real. Chest appealed right from the start, his voice beautiful in its sonority, his conviction embedded in each note. His timbre was perfect, the plangent “cri de coeur” never cloying, nor a plea for sympathy. That was unique, in fact, in Budd’s character – he knew where he was in time and space and otherwise: “I am a good sailor” he told the Captain when he stood before him apparently going to receive a promotion. “In my hands, you would be safe.” Indeed, the audience was also safe in his hands.
Lois Silverstein, OperaWire, 11 September 2019
The cast is uniformly strong, led by brilliant vocal performances and convincing stage presence from the three principals: John Chest in the title role... Chest, a properly youthful 34, maintained the role’s challenging vocal and dramatic presence; his return to the company ten years after his Merola Program participation here was a memorable occasion.
Janos Gereben, Classical Voice North America, 14 September 2019
Heathcliff, Wuthering Heights
Opéra national de Lorraine, May 2019
Baritone John Chest is irreproachable, expressing a complete palette of feelings in the role of Heathcliff. The voice goes from chilling darkness to cautious jealousy with an unsettling ease that almost makes the character endearing.
Christian Dalzon, Concertonet.com, 5 May 2019 (translated)
John Chest and Marcelo Amaral / Die Schöne Magelone
Alpha Classics; ALPHA421 / release date 11 January 2019
The voice itself is both beautiful and immediately engaging, virile but distinguished by an appealing vulnerability and urgent catch in the timbre. His German is impeccable, too, his way with Tieck’s words natural, engaged and engaging. He’s matched by vivid, supportive playing from the outstanding Brazilian pianist Marcelo Amaral
Hugo Shirley, Gramophone
...his German attentively enunciated, setting out his stall with heroic declamatory zeal. The headstrong optimism of 'Traun!' radiates virile conviction, and the long arc of 'Sind es Schmerzen' unfolds a sensitively shaped trajectory. The operatic heft of ‘Wie soll ich die Freude’ whips up a tortured storm in singer and pianist alike; ‘Verzweiflung’ generates a churning vortex of despair; while ‘Wie schnell verschwindet’ is lovingly cast as a Schubertian refugee refashioned in Brahms’s image
Paul Riley, BBC Music Magazine
Pelléas in Debussy's Pelléas et Mélisande, Glyndebourne Festival Opera
Glyndebourne Festival Opera, July 2018
Christopher Purves and John Chest play off each other as Golaud and Pelléas to wondrous effect. Golaud’s rage and pathos is heartrending, while Chest’s warm baritone pervades the story with a thread of marvellously sustained beauty.
Michael Church, The Independent, July 2018