Nmon Ford


"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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Panamanian-American baritone, Nmon Ford, steps into new territory in 2020 by performing the title role Orpheus: a house music opera, written by the artist, which has a Spring run scheduled at London’s Young Vic Theatre, directed by Charles Randolph-Wright. At Dallas Symphony Orchestra he sings performances of A Sea Symphony under the baton of Robert Spano.

No stranger to London, Nmon won exceptional reviews when he appeared as Crown Porgy & Bess last season in a new production which transfers this season to the Metropolitan Opera; Nmon returns to the role in Vienna, Austria, later this year.

Other roles he recently performed on the opera stage include Jochanaan Salome with Patricia Racette at Pittsburgh Opera, Don Pizzaro Fidelio with Christine Goerke at Cincinnati Opera, and in concert with Atlanta Symphony, Iago Otello with Russell Thomas in the title role. Earlier in his career Mr Ford sang often at Hamburg State Opera in Germany and appeared as Scarpia Tosca, Luna Il Trovatore, title role Billy Budd, The Traveler Death in Venice, and Thoas Iphigenie et Tauride under the baton of Simone Young. Other roles in the artist’s operatic repertoire include Kurwenal Tristan und Isolde, Telramund Lohengrin, Amonasro Aida, Renato Un Ballo in Maschera, Posa Don Carlo, Pere Germont La Traviata and the title role Rigoletto.

Often appearing on the concert platform with the great orchestras of the world, Nmon Ford is a popular choice for the principal baritone part in Bernstein’s Songfest which he recently sang with two different BBC orchestras in the UK--in Scotland and at the Barbican Centre in London. At the Mostly Mozart Festival at Lincoln Centre in 2018, he took the part of the Celebrant in Bernstein’s Mass which won him great accolades and outstanding reviews. His concert repertoire is broad and he regularly appears with Atlanta Symphony Orchestra, the Philharmonic orchestras of Los Angeles and New York, Chicago Symphony and the National Symphony Orchestra to mention a few; he has shared the concert stage with conductors such as James Conlon, Esa-Pekka Salonen, Leonard Slatkin, Marin Alsop and John Adams. His recordings include two Grammy-award winning discs: Naxos’s Songs of Innocence and Experience, and Teldarc’s Transmigrations. With Atlanta Symphony under conductor Robert Spano, he recorded Jennifer Higdon’s Dooryard Bloom, written for him.

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MasterVoices, Night Songs and Love Waltzes

March 2019

Both Ford and Roe displayed a balanced ebb-and-flow musical phrasing that brought to life images of Georg Friedrich Daumer’s poem...Ford’s voice blossomed into the moment when Daumer exclaims “Come, ah! Come, that we might give each other heavenly satisfaction!"...Nmon Ford’s performance of Gordon’s “Prayer” might have been the most superbly inspirational moment of the night...Ford was completely immersed in every word that he sang and there were moments where his voice was so attached to the soul of this piece that it literally brought to life the purpose behind one’s questioning of the meaning of life and man’s existence in the face of God. Not to be taken lightly, this piece might be considered by some as the heart and soul of this set of songs. Ford was a knockout in his delivery and will be forever cherished for his performance.

Opera Wire, Jennifer Pyron, 10 March 2019

Porgy & Bess, Dutch National Opera

January 2019

Ford, who had sung the role in London, was wholly persuasive as the brutish drunk who kicks off the plot by killing a man over a game of dice. When, on the run from the law, Crown seduces Bess away from Porgy, he was sexy and dangerous. He and Aaron made the stage sizzle.

Opera Today, Jenny Camilleri, 18 January 2019

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

No such reservations need to be made about Latonia Moore (Serena) nor Nmon Ford (Crown), both of whom easily matched famous past performers of the roles. ...Ford was a virile and exciting villain, rock-steady in a tone and oozing malice and sexual self-confidence.

Opera Magazine, Ditlev Rindom, November 2018

…Nmon Ford's nasty Crown packs a big sexual swagger and threat…’

Robert Thicknesse, Opera Now, November 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


Samson et Dalila (Le grand prêtre)


Carmen (Escamillo)
Les pêcheurs de perles (Zurga)


Macbeth (Macbeth)


Florencia en el Amazonas (Riolobo)


Andrea Chénier (Carlo Gérard)


The Emperor Jones (Brutus Jones)


I pagliacci (Tonio)


Cavalleria Rusticana (Alfio)


Hérodiade (Hérode)


Don Giovanni (Don Giovanni)


Tosca (Scarpia)


Die Liebe der Danae (Jupiter)
Salome (Jochanaan)


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)


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

Nmon Ford’s Concert Repertoire


El Niño


Cantata no.205
St. Matthew Passion


Symphony 9


L'enfance du Christ


Sacred Service


Songs of Innocence and of Experience


Ein deutsches Requiem


War Requiem


L'enfant prodigue
Trois ballades de François Villon


Sea Drift


Sietes cançiones populares Españolas


The Dream of Gerontius


Sacred Songs




Judas Maccabeus




Dooryard Bloom




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




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


Carmina Burana


The Bells


Don Quichotte à Dulcinée




Five Mystical Songs
Sea Symphony
Serenade to Music


Symphony 10, "Amerindia"


Belshazzar's Feast

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