American baritone Dean Murphy is currently a member of the ensemble at Deutsche Oper Berlin. In the 2022-23 season, Dean will sing Frédéric in Lakmé at the Berliner Philharmonie with the Deutsche Oper Berlin Orchestra. Dean will also sing Figaro/Il Barbiere di Siviglia, Schuanard/La Bohème, and Vitellius/Hérodiade at Deutsche Oper Berlin. In the Spring of 2023, Dean makes his debut at Theater an der Wien in the role of Fürst Ottokar in Der Freischütz. This season, Dean will also debut at Semperoper Dresden as Schaunard in La Bohème.
In the 2021-22 season at Deutsche Oper Berlin, Dean sang Figaro in Il Barbiere di Siviglia, Demetrius in A Midsummer Night's Dream, and Eddy in Greek. In the Spring of 2022, Dean made his debut in France at Opéra National de Lorraine & Opéra de Dijon as Jean in Boesman's Julie. Dean also recently made his debut in Belgium in the role of Schaunard in La Bohème at Oper Vlaanderen. In June 2022, Dean sang the role of Paolo Orsini in Wagner's Rienzi at Müpa Budapest under the baton of Marc Albrecht.
Dean was a member of the International Opera Studio at Opernhaus Zürich from 2018 to 2020. In Zürich, he appeared as Figaro in Il Barbiere di Siviglia, Schaunard in La Bohème, as well as in Barrie Kosky’s new production of Die Gezeichneten, Andreas Homoki’s new production of Sweeney Todd, Christof Loy's new production of Don Pasquale and Tatjana Gürbaca’s new production of Le Grand Macabre. Dean was supposed to return to Opernhaus Zürich for Don Alvaro/Il Viaggio a Reims and Figaro/Il Barbiere di Siviglia but both were cancelled due to Covid-19.
Recent successes include being a finalist in the Moniuszko Competition and Tenor Viñas Competition, Don Alvaro & Lord Sidney in Il Viaggio a Reims at Rossini Opera Festival and Moralès in Carmen at Gstaad Menuhin Festival.
Dean Murphy obtained his Master of Music degree from Yale School of Music and holds a Bachelor of Music degree in Vocal Performance from the Hartt School of Music.
ROMÉO ET JULIETTE
"The tremendous flexibility of his belcanto singing gave Dean Murphy his beautiful baritone and the visual presence of the faithful Mercutio."
"Belkanto pur, enorme Flexibilität schenkte Dean Murphy seinem schönen Bariton und dem treuen Mercutio die optische Präsenz."
"...and particularly Dean Murphy, who closed the show, delivered his number with an emotional honesty and directness that showed why opera has persisted for so long as an art form."
-NEW HAVEN INDEPENDENT
DEUTSCHE OPER BERLIN
“Dean Murphy’s Schaunard stood out vocally, far from the easiest of tasks in that role.”
IL BARBIERE DI SIVIGLIA
"As Figaro, Dean Murphy
convinced us totally with his beautiful baritone voice from the beginning. He succeeds in developing this role into a completely independent person. He sings this part with devotion and plays this character stunningly."
"Dean Murphy als Figaro überzeugt mit seiner schönen Baritonstimme von Anfang an total. Es gelingt ihm, aus dieser Rolle eine ganz eigenständige Person zu entwickeln. Er singt diese Partie mit Hingabe und spielt diese Figur umwerfend."
"Notable among these new voices on this occasion was the fine vocal projection of American baritone Dean Murphy."
DEUTSCHE OPER BERLIN
“As Eddy, Dean Murphy was unbearably moving in his use of head voice at the poignant 'We only love' after the final revelation”
-Carlos María Solare
IL BARBIERE DI SIVIGLIA
"Of the leads, two voices stole the show. Dean Murphy’s superb baritone gave real heft to the slick and natty Figaro, whose self-infatuation, given his clever schemes, could somehow be forgiven. The American’s articulation and carriage as a modish sunny boy saw the audience in his hand from the start, and his character’s preening and trendy blue hair made us love him even more. His vocal delivery of the popular “Largo al factotum” aria in which he lauds his own praises, couldn’t have been more convincing: “Everyone wants me,” he sings, “women, youngsters, oldies, the golden-haired…” Figaro’s is a tremendously vibrant presence, the real driver of the action and Murphy brought the house lights on."
“The highlight of the auditions was the performance of Dean Murphy, an American baritone, who in the aria of Mozart's Count Almaviva, especially in Niewiadomski's Bells, showed full professionalism - a great interpretation, perfectly positioned voice and great musical sensitivity.”