Nmon Ford

Baritone

"Baritone Nmon Ford was outstanding as Jochanaan. His opening lines were surprisingly powerful, sung as they were from under the stage in the cistern. But he sang with resonant dignity throughout."

Mark Kanny, Pittsburgh Tribune-Review

"Nmon Ford’s lyrical baritone was effective in his passages of religious fervor … he was a striking, gaunt zealot…"

Robert Croan, Pittsburgh Post-Gazette

"Equally gripping was the terrific baritone Nmon Ford...his anger was palpable as he declared his plan for vengeance, and his presence electrified whenever he was on the stage."

Janelle Gelfand, USA Today Cincinnati

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American baritone, Nmon Ford, opens the 2018/19 season by making his role and house debut as Crown Porgy & Bess in the new production at English National Opera. He travels to Scotland for Bernstein’s Songfest which he sings with the BBC Scottish Symphony Orchestra under the baton of Thomas Dausgard. Returning to the US, Nmon joins Atlanta Symphony Orchestra as Don Pizzaro Fidelio alongside Christine Goerke in the title role and revives the role of Crown at Cincinnati Opera during their summer festival.

Recent highlights include his appearance at Atlanta Symphony in the role of Iago Otello, Kansas City Symphony for Brahms Requiem and in London appearing in Bernstein’s Songfest with the BBC Symphony Orchestra at the Barbican Centre. At Madison Opera the artist appeared as Riolobo Florencia en el Amazonas.

Nmon Ford returned to the American operatic landscape recently as a baritone of some repute in dramatic repertoire. Appearing as Don Pizzaro at Cincinnati Opera, USA Today said “Equally gripping was the terrific baritone Nmon Ford, who embodied the evil Pizarro with wicked abandon. His anger was palpable as he declared his plan for vengeance, and his presence electrified whenever he was on the stage.” (Janelle Gelfand, July 8, 2016). Nmon continued to Pittsburgh Opera where he sang the role of Jocanaan against Patricia Racette’s Salome and again won exceptional reviews with the press calling him “powerful”, “outstanding”, “striking” and “resonant”. Other engagements include The Creation with Atlanta Symphony at performances of Elijah at Pomona College, Claremont.

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Porgy & Bess, English National Opera

October 2018

Of the major characters, only Nmon Ford as Bess’s violent lover Crown has the necessary vocal heft and stage presence, and his ability to cow the entire community during the storm scene arouses a genuine thrill of terror.

Rupert Christiansen, The Telegraph, 12 October 2018

Nmon Ford’s Crown: as charismatic a psychopath as you’d hope never to meet…

Richard Morrison, The Times, 12 October 2018

When Nmon Ford’s Crown, the bullying braggart who is the murderer, traps Nicole Cabell’s Bess on Kittiwah Island, the moment is deeply disturbing…

David Karlin, Bachtrack, 12 October 2018

Bess’s twin plagues, and twin tempters – the wheedling pusher Sporting Life, and the abusive thug Crown – strutted their stuff in a chilling double dose of what Gershwin probably never called toxic masculinity…Nmon Ford as a horribly charismatic Crown…

Boyd Tonkin, The Arts Desk, 12 October 2018

Bernstein Mass, Mostly Mozart Festival

July 2018

Most notable was baritone Nmon Ford’s easy resonance and lovely, butter phrasing as the Celebrant...

New York Classical Review, George Grella, 18 July 2018

The high baritone Nmon Ford was the eloquent Celebrant...

Financial Times, John Rockwell, 19 July 2018

Nmon Ford was excellent as the Celebrant. His velvety baritone caressed the soft notes at either extreme of his range, but when unleashed it was powerful and penetrating. As an actor, he captured the exultation, anger and frustration of the Celebrant, although he was perhaps most engaging in tee shirt and jeans, young and idealistic. It was the stage of young manhood that Bernstein captured to perfection in so many of his stage works, and Ford embodied it.

Seen and Heard International, Rick Perdian, 21 July 2018

The “celebrant,” baritone Nmon Ford, provided a virtuoso performance of musical and physical prowess, remaining on stage for most of the show’s duration as a priest in growing conflict with his restless flock, desperately seeking a reason to believe.

American Magazine, Kevin McCabe, 20 July 2018

Nmon Ford, in a vocally resplendent, dramatically formidable performance...Ford convincingly traversed an arc from a patient father figure to a panicked captain trying to fend off mutiny. The climactic, fourteen-minute mad scene, after the Celebrant shockingly hurls his sacraments to the floor, is the most precarious part of the score, but Ford pulled it off with dramatic surety and musical intensity—a truly memorable turn.

ZealNYC, Joshua Rosenblum, 20 July 2018

The Celebrant, baritone Nmon Ford, enters down the aisle from the audience as if he wandered in from a hootenanny. He strummed a guitar and sang, "Sing God a simple song....Make it up as you go along," before taking on his religious garb and becoming leader of the congregants around him in the Mass. (The character would dress down again later in the piece.) Ford used his velvety voice to move back and forth easily in meeting the shifting demands of the work.

Broadway World, Richard Sasanow, 19 July 2018

Calm and collected, Nmon Ford, as the Celebrant, made a sweet sound...

NY Times, Zachary Woolfe, 18 July 2018

Baritone Nmon Ford sang the Celebrant as if he’d been humming the role since kindergarten, his clear, supple voice streaked with that Bernstein specialty, existential doubt.

Vulture, Justin Davidson, 19 July 2018

Florencia en el Amazonas, Madison Opera

April 2018

Similarly Ford, as Riolobo, very nearly steals the show with his poetic Act I plea to the river spirits not to drown the ship. Ford’s strength and sly smile draw the eye, even when he’s quietly watching from above.

The Cap Times, Lindsay Christians, 28 April 2018

Nmon Ford as Riolobo, had a rich baritone voice and an impressive physicality. His transformation at the end of the first act into a feather-clad river spirit was hypnotic.

The Well-Tempered Ear, Jacob Stockinger, 1 May 2018

Brahms Requiem, Kansas City Symphony

November 2017

Nmon Ford, baritone, took great command of the stage during his featured moments, singing with a direct authority that was hypnotizing. His physical portrayal of the text was subtle and welcome in this performance, treated like an operatic role rather than that within a more strict concert setting.

KC Metropolis, Anthony Rodgers , 9 November 2017

Otello, Atlanta Symphony

October 2017

The real vocal stand out of the evening was baritone Nmon Ford (no relation), who played the manipulative ensign Iago. Having won several major performance awards, he has built an international reputation in opera houses and concert halls alike. He has an exquisitely clear and controlled voice, and has a very strong stage presence. He knows how to angle his body, dart his eyes, or sit with rigid posture to convey the subtlest of emotions. His vocal skills, in addition to his elegant presentation, made his Iago both charming and treacherous. Ford has been a guest soloist with the ASO many times, and this was a particularly memorable performance in this challenging concert-opera setting.

Bachtrack, Robert E. Ford, 9 October 2017

Ensign Iago is sizzlingly sung as a truly evil villain by baritone Nmon Ford...Ford is familiar to ASO audiences through multiple performances and recordings with the orchestra.

ArtsATL, Mark Gresham, 10 October 2017

Fidelio, Cincinnati Opera

July 2016

The impressive bass Nmon Ford was the villainous Pizarro…

Rafael de Acha, Seen and Heard International, July 9 2016

Nmon Ford’s Opera Repertoire

BERLIOZ

Samson et Dalila (Le grand prêtre)

BIZET

Carmen (Escamillo)
Les pêcheurs de perles (Zurga)

BLOCH

Macbeth (Macbeth)

CATÁN

Florencia en el Amazonas (Riolobo)

GIORDANO

Andrea Chénier (Carlo Gérard)

GRUENBERG

The Emperor Jones (Brutus Jones)

LEONCAVALLO

I pagliacci (Tonio)

MASCAGNI

Cavalleria Rusticana (Alfio)

MASSENET

Hérodiade (Hérode)

MOZART

Don Giovanni (Don Giovanni)

PUCCINI

Tosca (Scarpia)

STRAUSS, R.

Die Liebe der Danae (Jupiter)
Salome (Jochanaan)

VERDI

Aïda (Amonasro)
Un ballo in maschera (Renato)
Don Carlo (Posa)
Ernani (Don Carlo)
Macbeth (Macbeth)
Nabucco (Nabucco)
Otello (Iago)
La traviata (Germont)
Il trovatore (di Luna)
Rigoletto (Rigoletto)

WAGNER

Lohengrin (Telramund)
Parsifal (Amfortas, Klingsor)
Tristan und Isolde (Kurwenal)

Nmon Ford’s Concert Repertoire

ADAMS

El Niño

BACH, J.S.

Cantata no.205
St. Matthew Passion

BEETHOVEN

Symphony 9

BERLIOZ

L'enfance du Christ

BLOCH

Sacred Service

BOLCOM

Songs of Innocence and of Experience

BRAHMS

Ein deutsches Requiem

BRITTEN

War Requiem

DEBUSSY

L'enfant prodigue
Trois ballades de François Villon

DELIUS

Sea Drift

DE FALLA

Sietes cançiones populares Españolas

ELGAR

The Dream of Gerontius

ELLINGTON

Sacred Songs

FAURÉ

Requiem

HANDEL

Judas Maccabeus
Messiah
Samson

HAYDN

Creation

HIGDON

Dooryard Bloom

LESHNOFF

Zohar

MAHLER

Das Lied von der Erde
Des Knaben Wunderhorn
Kindertotenlieder
Lieder eines fahrenden Gesellen
Rückertlieder
Symphony 8

MENDELSSOHN

Elijah

MOZART

Concert Aria, "Mentre ti lascio, o flglia"
Concert Aria, "Per pietà, non ricercate"

ORFF

Carmina Burana

RACHMANINOV

The Bells

RAVEL

Don Quichotte à Dulcinée

THEOFANIDIS

Creation/Creator

VAUGHAN WILLIAMS

Five Mystical Songs
Sea Symphony
Serenade to Music

VILLA-LOBOS

Symphony 10, "Amerindia"

WALTON

Belshazzar's Feast

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