INTRODUCING / Matthew Swensen

A bright, joyful coloratura voice as well as excellent technique.
— Badische Zeitung / Concert of Mozart Arias with Basel Symphony

Praised for his “warm soft floating tenor,” “Excellent technique” and “bright, joyful coloratura voice,” Matthew Swensen continues to impress audiences all around Europe with his impassioned and inspiring musicality. After a widely successful European debut with the Bavarian State Radio Orchestra in a production of Mozart’s Die Schuldigkeit des ersten Gebots, Matthew Swensen has made numerous debuts all over Europe, including a “Powerful yet beautifully sung” performance as Tamino in Oper Frankfurt’s Die Zauberflöte.

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Calendar / Performance Highlights

DEC 15

Die Lustige Witwe



Diretor Claus Guth presents Franz Lehar’s celebrated work at Oper Frankfurt. Kirsten Mackinnon, Matthew Swensen and Elizabeth Reiter lead a terrific cast running December 15 - January 6th.

Grosse Bühne, Oper Frankfurt

Frankfurt, Germany


NEWS / The Latest

More Mozart in Frankfurt

November 3, 2017

Two more performances of Die Zauberflöte have been announced at OperFrankfurt on December 19th and 23rd, starring Matthew Swensen as Tamino and Louise Alder as Pamina.

World Premiere: Freihaus-Theater auf der Wieden, Vienna, 1791. A sublime fairy tale that moves freely between earthy comedy and noble mysticism, The Magic Flute (Die Zauberflöte in the original German) was written for a theater located just outside Vienna with the clear intention of appealing to audiences from all walks of life. The story is told in a singspiel (“song-play”) format characterized by separate musical numbers connected by dialogue and stage activity, an excellent structure for navigating the diverse moods, ranging from solemn to lighthearted, of the story and score.

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PRESS/ Latest acclaim

St. Cecilia Chorus at Carnegie Hall

"With A Bach Family Christmas, Matthew will make his Carnegie Hall debut. He sang the Magnificat four years ago at his family’s church in Rochester. Singing Bach - which sits high in the tenor voice - is an easy fit for him. But Matthew knows that his voice - the physiological mechanism as well as the intellectual force behind it - will not mature fully until he is in his late 20’s, when he can better understand where his voice is headed.  His goal is to sing for as long as he can at as high a level as he can.”

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In Review:
Handel’s Messiah / 1 October 2018

“Matthew Swensen's weightlessly softly styled tenor was made for the fluid, far-reaching melodies of melismas and elaborate modulations of recitatives and arias.”

Augsburger Allgemeine

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