Bio
Howe is going to have a huge career. His interpretation - displayed a crystalline voice that he can colour as the mood dictates, a commitment to character that rivets the eye, and a naturalness on stage, all coupled with a manly demeanor. The guy is sexy and he sings like an angel.”
- Opera Canada
Howe is going to have a huge career. His interpretation - displayed a crystalline voice that he can colour as the mood dictates, a commitment to character that rivets the eye, and a naturalness on stage, all coupled with a manly demeanor. The guy is sexy and he sings like an angel.”
- Opera Canada
Known for his compelling stage presence, effortless command of the high tessitura and his riveting interpretive skills, Howe has been a favorite of audiences and of the press for the past 15 years.
He made his debut in 1997 as Nemorino in Donizetti’s L’elisir d'amore in Oporto, Portugal, where the press revered him as “the quintessential Nemorino”, a role that he has now performed more than any other.
An innate understanding of Donizetti has given him the opportunity to frequently interpret these important works. In addition to countless turns as Nemorino, he has seen consistent acclaim as Ernesto in Don Pasquale, Edgardo in Lucia, Percy in Anna Bolena and Roberto in Maria Stuarda.
A natural affinity for Mozart early in his career also offered opportunities as Tamino, Don Ottavio and Ferrando.
Recognized for a wonderful sense of comedy, Howe has also been praised for his appearances as Alfred in Die Fledermaus, Camille in The Merry Widow and as Prince Karl Franz in Romberg's The Student Prince.
Upon his return to North America, Howe quickly found himself successfully tackling repertoire that spanned the many facets of operatic literature.
Never afraid to accept new challenges, Howe grew both vocally and artistically by appearing in various Puccini roles, such as Rodolfo in La Bohème, Cavardossi in Tosca and Rinuccio in Gianni Schicci. He also appeared in concert versions of Carmen as Don Jose, the Duke in Rigoletto and on stage as Jeník in The Bartered Bride.
During this period, he balanced this approach by appearing as Fenton in Falstaff, Arturo in Bellini's La Straniera, Gérald in Lakmé and Wilhelm Meister in Mignon, the latter two roles leading to a love of French repertoire that led him to explore Gounod's Romeo and Faust as well as Des Grieux in Massenet's Manon, and Nadir in Bizet's Les pêcheurs de perles.
Recognition of his acting and interpretive ability, brought offers to create roles in two important new Canadian operas.
As James Nichol in Chan Ka Nin’s The Iron Road, he received unanimous rave reviews at the historic Elgin Theatre in Toronto. This led to his nomination for Best Male Lead at that year's Dora Awards for Toronto Theatre.
Howe also created the extensive lead role of John Higgs for Pacific Opera Victoria's critically acclaimed world premier of Erewhon from Canadian Composer Lou Applebaum and librettist Mavor Moore. Both world premieres were recorded and broadcast nationwide on the CBC.
Earlier in his career he created the role of Tom Wade in Pulitzer Prize winning composer Robert Ward’s Lady Kate.
No stranger to the concert stage, his many oratorio credits include Haydn's The Seasons, Handel’s Messiah, Mendelssohn’s Elijah, Carmina Burana by Carl Orff, Bach’s Magnificat, St. Matthew Passion and Cantata 29, Beethoven's 9th, Bruckner’s Te Deum and Rossini's Stabet Mater.
In May 2001, he appeared with the Israel Northern Symphony in Haifa, Israel, where he sang the tenor solos in two world premiere oratorios. The event, part of The Opening of the Terraces of the Shrine, was broadcast live worldwide via satellite, television, radio and the internet, with video and CD released.
He was also selected to premiere the final work of Srul Irving Glick, entitled “Isaiah” in 2002, a work commissioned by the Kingston Symphony in Ontario, Canada.
In 2012 Howe returned to active stage work, after three years spent primarily teaching voice and opera, including at the university level. This experience has solidified his intensity as a performer, led to a paring down of his core roles and heightened his attention to new repertoire.
A renewed focus on Rossini includes not only Arnold in Rossini's Guillaume Tell, but special attention to those created by Andrea Nozzari such as Rodrigo in La donna del lago and the role of Otello.
Other new undertakings include several of Donizetti's less frequently performed operas, such as Poliuto, and a return to Mozart, this time looking toward Mitridate and Idomeneo.