Review of "Tribute to Gilbert Duprez:

"One of today’s most thrilling tenors, John Osborn is in constant demand on the world’s most prestigious opera stages. His gorgeous voice is particularly noted for its magnificent top end. Who better, then, to present an album devoted to Duprez’s seminal influence on vocal technique for tenors?"

                      ~ LayLay    


John Osborn is and is unmistakably - for the time he has been practicing it - one of today's best Hoffmanns. His exemplary French, mixed with a slight accent, is a real treat for the ears. At all times you can sense an attention to words. He manages to breathe meaning, even poetry, into the most innocuous sentences (such as “ma maîtresse” at the end of the prologue). If now he uses less treble than before - probably to last the length of an overwhelming role - he is, despite everything, not stingy, especially at the end of Kleinzach's aria. He thus manages, which is not easy, to enlighten the character in all the facets that make him interesting and allow him to go through the opera, the prologue, the three acts and the epilogue, with all the characterization of a man who evolves according to his adventures.

                        ~ Paul Fourier



American tenor, John Osborn, has gained international acclaim in the “bel canto” and French “Grand Opéra” repertoire. His early career consisted of many international performances of Il conte d’Almaviva in Il barbiere di Siviglia, Principe Ramiro in La cenerentola, Il conte di Libenskof in Il viaggio à Reims, Don Narciso in Il turco in Italia; and Lindoro in L’italiana in Algeri by Gioacchini Rossini; several performances as Don Ottavio in Don Giovanni, Belmonte in Die Entführung aus dem Serail, Ferrando in Così fan tutte, and Prinz Tamino in Die Zauberflöte by Wolfgang Amadeus Mozart;  Arturo Talbot in I puritani, Elvino in La sonnambula, and later sang Pollione in Norma by Vincenzo Bellini; Nemorino in L’elisir d’amore, Ernesto in Don Pasquale, Tonio in La fille du régiment, and later sang Edgardo in Lucia di Lammermoor and Devereux in Roberto Devereux by Gaetano Donizetti.

Becoming a specialist in the French repertoire, Mr. Osborn has performed Roméo in Roméo et Juliette by Charles Gounod (Salzburger Festspiele, Bruxelles' Palais de Bozarts, and Arena di Verona); Prince Léopold in La Juive by Fromental Halévy (Opéra National de Paris; Dutch National Opera; Opernhaus Zürich; Bayerische Staatsoper München); Raoul de Nangis in Les Huguenots (La Monnaie de Munt Bruxelles; Dresdner Semperoper and Grand Théâtre de Genève); and Jean de Leyde in Le prophète by Giacomo Meyerbeer (Aalto Musiktheater Essen; Capitôle de Toulouse); Werther in Werther (Frankfurt am Main) and Des Grieux in Manon by Jules Massenet (Teatro Colón Buenos Aires; Opéra de Lausanne); Hoffmann in Les contes d’Hoffmann by Jacques Offenbach (Salle Pleyel de Paris; Opéra de Lyon; Dutch National Opera; Teatro San Carlo di Napoli; Gran Teatre de Liceu); Nadir in Les pêcheurs de perles by Georges Bizet (debut Royal Opera House Covent Garden; Gran Teatre de Liceu); Faust in Charles Gounod's Faust (Opéra des Nation, Genève); Faust in La damnation de Faust by Hector Berlioz (Orchestre de Radio France, Paris); and most recently, has been having huge successes as Cellini in Hector Berlioz’s masterpiece Benvenuto Cellini in a critically acclaimed production by Terry Gilliam (Dutch National Opera in Amsterdam; his debut at the Teatro dell’opera di Roma, where he was recently awarded the "Franco Abbiati Award" (Italian Critics); his debut at the Gran Teatre del Liceu in Barcelona, where he was also awarded “Best Male Singer” in the Critical Awards by the “Los amics del Liceu”) Season 2015/2016; and the Opéra National de Paris at the Bastille.


The 2020/21 Season brought John Osborn to Oviedo, Spain in Teatro Campoamor for performances of Arturo Talbot in I puritani; his return to Gran Teatre del Liceu as Hoffmann in Les contes d'Hoffmann; his debut at the Teatro Real de Madrid as Pollione in Norma; and his return to the Dutch National Opera in a new production by Calixto Bieito of Die ersten Menschen by Rudi Stephan. This role debut as Chabel is his first attempt of early 20th century German repertoire.

In 2019/20 season, Mr. Osborn performed his acclaimed Arnold in Guillaume Tell by Rossini at Opéra de Lyon. He also made his staged debut as Henri Monfort in Les Vêpres siciliennes by Giuseppe Verdi at the Opera di Roma; and finished the season as Raoûl de Nangis in Les Huguenots by Giacomo Meyerbeer at the Grand Théâtre de Genève. 


The 2018/19 season, he made his exciting debut in the title role of Hector Berlioz' La damnation de Faust with the Orchestre National de France and Maestro Charles Dutois at the Philharmonie de Paris. He also made is debut with the Philadelphia Orchestra and Yannick Nezet-Séguin singing the Tenor part in Carmina Burana by Carl Orff. Rounding out his triumphant season he also made appearances in Guillaume Tell at the Theater an der Wien; I puritani at Oper Frankfurt am Main; La favorite at Teatro Massimo di Palermo; Nadir in Les pêcheurs de perles by Georges Bizet at the Gran Treatre de Liceu; and Les Huguenots at the Dresdner Semperoper.


Notable Italian roles include Alfredo Germont in La traviata by Giuseppe Verdi (Arena di Verona, Opera Classica Europa, Teatrul National De Opera Si Balet Oleg Danovski in Constanza, Romania); Il duca di Mantua in Rigoletto by Giuseppe Verdi (Opera Festival of New Jersey, Des Moines Metro Opera, Opera Classica Europa); Rodolfo in La bohème by Giacomo Puccini (Phoenician International Festival of the Voice); Arnoldo in Guglielmo Tell by Gioacchino Rossini with Gianandrea Noseda (Teatro Regio di Torino; Stresa Festival; Harris Theater in Chicago; Carnegie Hall in New York, Hill Auditorium University of Michigan in Ann-harbor)

As a "bel canto" specialist as well as his love of the French repertoire, he sings other “bel canto” masterpieces in the original French language such as Arnold Melchtal in Guillaume Tell  by Gioacchino Rossini (L’accademia di Santa Cecilia in Rome; Royal Opera Covent Garden; The Metropolitan Opera; Theater an der Wien; Opéra de Lyon; L’Opéra des Nations de Genève); Fernand in La favorite by Gaetano Donizetti (Teatro La Fenice, Venice, Italy; Teatro Massimo di Palermo); and to be included in this realm would be Henri in Les Vêpres siciliennes by Giuseppe Verdi (Bel Canto at Caramoor; Opera di Roma; and soon at the Bayerisches Staatsoper in Munich).

John Osborn has received several awards for his performances and contributions to culture including 2011 Goffredo Petrassi Award for his portrayal as Arnold in Guillaume Tell  with Antonio Pappano conducting the orchestra and chorus of L’Accademia di Santa Cecilia in Rome, Italy; 2012 Aureliano Pertile Award in Asti, Italy for his portrayal as Roméo at the Arena di Verona; 2014 Premio Bellini D’Oro in Catania, Sicily for his Elvino in La sonnambula in Bari’s Teatro Petruzzelli and Alfredo Germont in La traviata at the Arena di Verona; 2016 "Prix d’Amis" from the Friends of the Dutch National Opera for his performances as Cellini in Benvenuto Cellini; the Italian “Franco Abbiati” Critics Award for best “Male Singer” for his critically acclaimed performances as Fernand in La favorite in Teatro La Fenice, Cellini in Benvenuto Cellini at Teatro dell’opera di Roma, and his Otello in Otello: ossia il moro di Venezia by Rossini at the Teatro San Carlo di Napoli in the season 2016; and most recently the Italian "Oscar della Lirica" from Fondazione Arena di Verona in the category of "Best Tenor" 2016/17 (Awards Ceremony held in Haiku, Hainan, China).