David Stutz is a professional singer, composer, and recording artist. He has distinguished himself as a Bach cantata specialist, in early opera roles, in specialized chamber ensembles, and as an oratorio soloist.
As a composer and computer musician, David is currently exploring some of the many intersections between music and the abstract world of pure mathematics. Music, because of its highly abstract qualities and its many symmetries, constitutes a good carrier for the concepts and structures that populate this mathematical universe. To this end, David is currently harvesting abstract mathematical forms for musical use from diverse fields that include group theory, finite projective geometry, the differential geometry of multi-dimensional manifolds, and from simple cellular automata. Most recently, David has used these ideas to compose a set of pieces to accompany Neal Stephenson's book Anathem. David also collaborates regularly with sound artist Perri Lynch to create live ambient soundscapes using laptop computers and field recordings.
As a singer, David's forays into staged works run the gamut from medieval mystery plays to grand opera. In addition to his strong interests in both composing and performing contemporary music, he is a specialist in early music and baroque opera, most recently Claudio Monteverdi's L'Incoronzione di Poppea, Francesca Caccini's La Liberazione di Ruggiero dall'Isola d'Alcina, and Emilio de'Cavalieri's La Rappresentazione di Anima e di Corpo. On the contemporary front, he recently reprised the role of Henry VIII in Garrett Fisher's The Passion of St. Thomas More in New York and Kansas City, a role that he first sung at the work's premiere in 1995.
David has been featured by the Seattle Baroque Orchestra, the Portland Baroque Orchestra, Philharmonia Northwest, and Northwest Baroque. He is frequently sought as a Bass soloist and concertist for cantatas by Bach. Above and beyond such serious performances, however, David can also be very funny, sometimes even on purpose. He was a member of Seattle's notorious Schola Senexis as well as Chicago's Double Dudley Buck Quartet, both of which were dedicated to live comedic performance, and he has become a regular in the Carter family's celebrated puppet operas at the Northwest Puppet Center. In addition to the aforementioned Liberazione di Ruggiero, he performed a critically acclaimed version of Mozart's Magic Flute in which he interpreted Papageno, Zarastro, the 3rd boy, and the 3rd lady. He also sang in the Carter's productions of Henry Fielding's The History of Tom Thumb the Great and John Frederick Lampe's The Dragon of Wantley, and most recently enjoyed the role of Leporello in Mozart's Don Giovanni.
David is a founding member of Seattle's Tudor Choir, and also appears regularly with the highly regarded vocal ensemble Cappella Romana. He sang regularly with Chicago's Harwood Early Music Ensemble and His Majestie's Clerkes for many years, and has appeared as a guest with The Newberry Consort, Portland's Cantabile and Oregon Repertory Singers, and Seattle's Opus 7. He sings with the chorus of the Seattle Opera when he can carve out the time, most recently in their production of Lohengrin.
David has sung, composed, and produced incidental music for plays, ballets, and films. Over his career, he has been involved in numerous live radio broadcasts and recording projects, including performances of solo and duet cantatas by Handel and Bach, virtuostic arias by Caccini, Monteverdi, Peri, Purcell, and Schütz, American music from the shapenote and Shaker traditions, American music from colonial New England, English cathedral music, medieval masses and motets, Byzantine and Roman chant, contemporary opera, and a great deal of solo part-singing and choral music. As part of these efforts, he has sung for many different conductors, among them Peter Phillips, Stephen Stubbs, Paul Hillier, Andrew Parrott, and Stephen Cleobury. He has sung on A Prairie Home Companion as a member of the Tudor Choir, on NPR's Performance Today as a member of His Majestie's Clerkes, and on WFMT's live studio concert series as a soloist with the Harwood Early Music Ensemble and with the Chicago baroque group courtdancer.
David studied composition, conducting, and theatre at Occidental College as an undergraduate. He followed this up with never-completed graduate studies in composition at UCSD, and dabbled fleetingly in musicology as a Thomas J. Watson fellow while spending a pleasant year in Florence, Rome, and Oxford transcribing music manuscripts, composing, and performing. In his younger days, he would sometimes sing countertenor, but he has seen the error in his ways, and now sticks to parts for low voice.
(A short repertoire list is also available.)