American baritone Dean Murphy is currently a member of the ensemble at Deutsche Oper Berlin. This season, Dean is slated to sing Figaro in Il Barbiere di Siviglia at both Deutsche Oper Berlin & Opernhaus Zürich. Other roles in Berlin include Dancaïro in Carmen, Il Giullare in Francesca da Rimini in a new production by Christof Loy, and Crébillon in La Rondine. Dean will also sing Don Alvaro in Il Viaggio a Reims at Opernhaus Zürich in December & January.
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.
Recent successes include being a finalist in the Tenor Viñas Competition, Don Alvaro & Lord Sidney in Il Viaggio a Reims at Rossini Opera Festival, Moralès in Carmen at Gstaad Menuhin Festival and numerous roles at Deutsche Oper Berlin (Schaunard in La Bohème, Le Dancaïre in Carmen, Cristiano in Un ballo in maschera, Fiorello in Il Barbiere di Siviglia, and Wagner in Faust), in which he was a Stipendiat in the 2017/18 season.
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. In future seasons, Dean will make debuts in France, Belgium, and Austria.
FIGARO/IL BARBIERE DI SIVIGLIA/OPERNHAUS ZÜRICH
"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."
— Sarah Batschelet