AJ Glueckert


William G. Guerri
Nathan Wentworth
Press Resources
“Taking the place of Jay Hunter Morris, who withdrew from the run for personal reasons, the clarion, sensitive tenor AJ Glueckert had a solid Met debut as Erik, the earnest huntsman who loves Senta.”
Anthony Tommasini, New York Times, April 26, 2017 - Erik in 'Der fliegende Holländer' at the Metropolitan Opera

Tenor AJ Glueckert has been praised by the New York Times for his “clarion, sensitive tenor.” In the 2019-2020 season, he returns to Oper Frankfurt as Lyonel in Martha and Herodes in Salome. AJ also makes his house and role debuts at Dutch National Opera as Der Kaiser in Die Frau ohne Schatten and the title role in Lohengrin at Tiroler Festspiele Erl. Concert appearances include Mahler Symphony No. 8 with the City of Birmingham Symphony Orchestra conducted Mirga Gražinytė-Tyla and Haydn Die Schöpfung with Frankfurter Opern und Museumsorchester conducted by Sebastian Weigle.

In the 2018-2019 season, he was seen at Oper Frankfurt as Count Vaudemont in a new production of Tchaikovsky’s Iolanta conducted by Sebastian Weigle and Edrisi in King Roger conducted by Sylvain Cambreling. He reprised his performance as Flamand Strauss’ Capriccio directed by Brigitte Fassbaender and Don José in Barrie Kosky’s production of Carmen. In concert, he sang Erik in Der fliegende Holländer with Edo de Waart and the Milwaukee Symphony.

AJ Glueckert made his Metropolitan Opera debut as Erik in Der fliegende Holländer conducted by Yannick Nézet-Séguin and his Glyndebourne Festival debut as Bacchus in Ariadne auf Naxos, both to critical acclaim. He has been a member of the ensemble at Oper Frankfurt since the 2016-2017 season where he made his mainstage debut and European debut as the Prince in Rusalka. He has also been seen as Lyonel in a new production of Flotow’s Martha conducted by Sebastian Weigle, Don José in Barrie Kosky’s acclaimed production of Carmen, Raffaele in Stiffelio, Froh in Das Rheingold, Skuratov in Janáček’s From the House of the Dead, and Bob Boles in a new Keith Warner production of Peter Grimes.

At the San Francisco Opera, Mr. Glueckert was seen as Beadle Bamford in Sondheim’s Sweeney Todd, Normanno in Lucia di Lammermoor, Vogelsang in Die Meistersinger von Nürnberg, and Steuermann in Der fliegende Holländer. He made a successful Opera Theatre of Saint Louis debut as Bacchus in Ariadne auf Naxos conducted by Stephen Lord. Mr. Glueckert has sung Rusalka at Minnesota Opera and New Orleans Opera. He made his role debut as Don José in Carmen at Pittsburgh Opera. In his final year as an Adler Fellow at the San Francisco Opera, he was seen in productions of Norma as Flavio, Susannah and Un ballo in maschera. He created the role of the Crown Prince in the world premiere of Kevin Puts' Silent Night at Minnesota Opera and Opera Philadelphia. At the Santa Fe Opera, he has been heard as Pinkerton in Madama Butterfly conducted by John Fiore.

Mr. Glueckert is an alumnus of the Adler Fellowship and Merola Opera Program, both at the San Francisco Opera. As a resident artist with Minnesota Opera, he was heard as Arturo in Lucia di Lammermoor, as well as covering the title role in Werther and Pinkerton in Madama Butterfly. He is also a graduate of the young artists programs at Santa Fe Opera and Utah Opera, singing the Simpleton in Boris Godunov with Utah Opera. In concert, Mr. Glueckert has been heard in Handel’s Messiah with the Utah Symphony and Beethoven’s Symphony No. 9 with the Santa Clara and Sacramento Symphony Orchestras.

A two-time winner of the regional Metropolitan Opera National Auditions, he holds a degree from the San Francisco Conservatory of Music.

“AJ Glueckert, a member of the ensemble since this season, is thrilling as Lyonel with a bright lyric tenor, which has long been absent at the Frankfurt Opera. Wonderfully even, free and easy, he shapes the aria “Ach so fromm” and exudes in full strength with a round, soft intensity.”
Christiane Francke, Opernnetz, October 18, 2016 - Lyonel in 'Martha' at Oper Frankfurt
“A.J. Glueckert, another debut artist, displayed a gleaming, effortless tenor sound and he did not shy away from the high lying vocal writing that Dvorák gives to the Prince.”
George Dansker, Opera News, February 2015 - Prince in 'Rusalka' at New Orleans Opera