About Michael

Michael Colman HeadshotPast Chautauqua Opera Company Credits: Studio Artist 2019 – Basilio in Il Barbiere di Siviglia, Chorus in The Ghosts of Versailles, covered Atzuko in ¡Figaro! (90210).
Select credits: Scalia/Ginsburgh (The Commentator) with Opera Carolina, reprised at Opera Grand Rapids and Toledo Opera; Rigoletto (Ceprano/Sparafucile cover), Trial by Jury (Foreman of the Jury), and Aida (King of Egypt) with Toledo Opera; Così fan tutte (Guglielmo) with Opera Grand Rapids; Pirates of Penzance (Sergeant of Police/Pirate King cover) with Dayton Opera; La bohème (Schaunard) and Star-Crossed Lovers (workshop, Friar Laurence) with Indianapolis Opera; La Traviata (Dottore Grenvil) with Opera on the James.
Education: Indiana University (Performance Diploma, 2021), University of Kansas (Master of Music, 2015), Baylor University (Bachelor of Music, 2012).

Visit Michael's Website


To Watch

Virtual Sing-In, Part 1

Week One Master Class

Opera Invasion 1: Ballads on Balconies, Tour A

Opera Invasion 2: Opera Open Book

Opera Invasion 3: Miller Bell Tower Sing-a-long

Cocktails, Concerts, and Conversations, Week 7

”I Hear Grace Notes in the Distance” (Chautauqua Opera Song Cycle)

Week Seven Master Class

Opera Invasion 4: Grand Finale - A Musical Tour of the Institution Grounds

Young Artist Interview

Michael Colman 5Q: What is your hometown?
A: Cedarville, OH.

Q: What was the first opera you saw and how old were you?
A: When I first started showing an interest in singing around the age of 13, my dad brought home three DVDs for me: Guys and Dolls, Chicago, and La Bohème with Pavarotti and Freni at the Met. I had never heard anything like that and have been hooked ever since! 

Q: What was the first opera in which you performed?
A: My first role was Superintendent Budd in Albert Herring at Baylor University. I vividly remember basing most of the character on my dog, Lando, lots of looking confused and licking my chops.

Q: Opera features some pretty iconic characters. Who is your favorite operatic character and why?
A: Leporello is such a complex character with some of the best music ever written (especially for bass!) Is he a coward or just lazy? Brilliant manipulator or bumbling idiot? So much depth to plumb.

Q: Who are your opera singing idols?
A: Definitely Samuel Ramey (that voice... that hair...), Bryn Terfel, and George London

Q: What do you love most about opera?
A: I love the act of singing. Technically speaking, singers are vibrating each and every air molecule in the room without any amplification. We are literally moving the audience with the sound of our voice. When I can do that while bringing an affecting story to life, it is the greatest experience in the world for me.

Q: Chautauquans love their ice-cream! What is your favorite flavor?
A: Hmmmm... Ben & Jerry's came out with a non-dairy 7 layer coconut caramel icecream and it is life-changing. 10/10, 5 stars, all of that and more. (Just don't take the last one if I'm headed to the store after a long day of rehearsal).

Photo caption: Michael Colman as the Sergeant of Police in Pirates of Penzance at Dayton Opera.

Spotify Playlist

Each week, two of our Young Artists will draw inspiration from Chautauqua Institution’s weekly theme and weekly interfaith theme to curate Spotify playlists for your listening pleasure. We hope these playlists provide inspiration, joy, and a chance to engage with these themes in a different way.

For Week Eight, Michael drew inspiration from the interfaith theme Reframing Our Journey: A Week with Fr. Richard Rohr, OFM 

He says:

“The interfaith theme of this week is "Reframing Our Journey: A Week with Fr. Richard Rohr, OFM". After sampling some of his extensive writing and video discussions, I came away with two focal practices: contemplation and compassion. At first, I could only see how these practices appeared to contrast each other: self-reflection vs. considering others. However, I made an attempt here to meld the two with a collection of calm music for contemplation but which spans many different cultural and ethnic backgrounds to hopefully guide your thoughts to other people. As you listen, I encourage you to consider how others are both similar to you and different from you, just as these pieces share many similarities and differences from the music you may be used to.”