Ryan Speedo Green

Askonas Holt is delighted to represent bass-baritone Ryan Speedo Green for European management, in partnership with Promethean Artists.

© Dario Acosta


A native of Suffolk, Virginia, bass-baritone Ryan Speedo Green has quickly garnered an international reputation as a “breakthrough star”, appearing at many of the world’s most important opera houses and music festivals.

Roles for the Wiener Staasoper have included Sarastro Die Zauberflöte, Raimondo Lucia di Lammermoor, Banquo Macbeth, Titurel Parsifal, Der Einarmige Die Frau ohne Schatten and Lodovico Otello, amongst others.

Mr Green began his 2020/21 season with a house debut at the Theater an der Wien as Jake in Porgy & Bess. Upcoming highlights will include a return to the Metropolitan Opera as Jake and as Colline La boheme.

In 2016, Little, Brown & Company published ‘Sing for Your Life’, by New York Times journalist Daniel Bergner, telling the story of Mr Green’s personal and artistic journey to the Met stage. ‘Sing for Your Life’ has been honoured with a number of accolades, including the New York Times bestseller and editor’s choice, a Washington Post Notable Book, and a Publishers Weekly Book of the Year.

Amongst his many other awards, Mr Green is the winner of the 2014 George London Foundation Award, a 2014 Annenberg grant recipient, a 2014 Gerda Lissner Foundation First Prize winner and a finalist in the Palm Beach Opera Competition.


  • More info  
    06 Dec 19 PUCCINI Tosca
    Vienna State Opera

    “Testifying that there are no small parts, Ryan Speedo Green returned with a more compact and well-articulated Angelotti”
    Moore Parker, The Opera Critic, 09 December 2019

  • More info  
    25 Oct 19 VERDI Macbeth
    Vienna State Opera

    “the remaining cast was drawn from the State Opera’s highly-competent ensemble, with Ryan Speedo Green (Banquo) boasting his eloquent and even-scaled bass”
    Moore Parker, The Opera Critic, 31 October 2019

    “American Ryan Speedo Green was commanding as Banquo, a part too small for such an attractive, rich bass voice – you long to hear more.”
    Stephen Pritchard, Bachtrack, 29 October 2019

    “Banco è stato interpretato dall’applauditissimo Ryan Speedo Green, capace di strappare un’autentica ovazione a scena aperta al termine dell’aria “Come dal ciel precipita”, eseguita con sicurezza tecnica, bel gusto nel fraseggio e incisività negli accenti.”
    (Translated) “Banco was performed by the much-applauded Ryan Speedo Green, who was able to evoke a genuine ovation in the middle of the scene following his aria “Come dal ciel precipita”, carried out with technical confidence, good taste in phrasing and precision in the accents.”
    Andrea R. G. Pedrotti, L’Ape Musicale, 26 October 2019

  • More info  
    23 Sep 19 GERSHWIN Porgy and Bess
    Metropolitan Opera New York

    “As Jake and Clara, Ryan Speedo Green and Golda Schultz were a winsome couple… Green’s earthier timbre proved a fitting contrast, especially in his opening “A Woman Is a Sometime Thing,” where he imbued Jake with a playful cynicism as he rocked the tiny baby.”
    David Salazar, Opera Wire, 24 September 2019

    “Ryan Speedo Green brought his warm, mellifluous bass to a loving characterization of Jake, family man, dad to a new baby and husband of Clara”
    Anne Midgette, The Washington Post, 24 September

    “Jake, the virile-sounding Ryan Speedo Green, who adds another rich-toned portrayal to his recent Met portfolio”
    Clive Paget, Limelight, 02 October 2019

    “Ryan Speedo Green delivered “A woman is a sometime thing” with swagger.”
    Robert Levine, Bachtrack, 25 September 2019

  • More info  
    27 Sep 18 VERDI Aida
    Metropolitan Opera

    “Two low voices, Dmitry Belosselskiy as Ramfis and Ryan Speedo Green as the King, were strong in voice and presence.”


    Ako Imamura, Bachtrack, 27th September 2018

  • More info  
    19 Feb 18 ROSSINI Semiramide
    Metropolitan Opera

    “From his first moment onward, Ryan Speedo Green’s booming bass was simply a revelation. It’s a coarser sound, but it grabs you and holds your attention with its richness and size. Oroe is perhaps not a massive assignment, but he is slowly establishing his presence at the Met and will no doubt be a major star in years to come.”

    David Salazar, OperaWire, 22 February 2018

    “The fast-rising bass-baritone Ryan Speedo Green was stylish and stentorian as the high priest Oroe.”

    Alex Ross, The New Yorker, 12 March 2018


  • More info  
    01 May 17 MOZART Die Entführung aus dem Serail
    Houston Grand Opera

    “Bass-baritone Ryan Speedo Green is both the opera’s standout star and least likable character as Osmin, Pasha Selim’s overseer and harem guard. From his first major aria—where he hog-ties Pedrillo and sings about how he’ll mangle, strangle, rip and tear him apart—he was a fantasy of sonorous, rumbling tone and accuracy. Green has mastered the trick of Mozart, who remains hands down the most adroit opera composer ever—you have to make something really difficult to sing effortlessly.”

    Sydney Boyd, Houstonia, 1st May 2017

  • More info  
    06 Oct 16 PUCCINI La Boheme
    Metropolitan Opera

    “But this performance will be remembered, I think, as the night of bass-baritone Ryan Speedo Green’s breakthrough as a star. His full and distinctive voice made even the tiniest lines sound important, and his final act “Coat Aria” felt like the climax of the whole opera. I predict this artist, already mightily impressive, will soon be so essential he’ll be anchoring a Gesamtkunstwerk of his very own.”

    James Jorden, The Observer, 6th October 2016

  • More info  
    18 Jan 16 VERDI Il Trovatore
    Opéra de Lille

    “Finally, we salute the bass-baritone Ryan Speedo Green as Ferrando: a secondary role perhaps, but, from the opening, tremendously incarnate.”

    Sophie Bourdais, Télérama, 18th January 2016

Sing for Your Life

By Daniel Berner

“Written with film like immediacy. … This book is so good. … And the key element—highlighted by the book’s subtitle, ‘A Story of Race, Music, and Family’—is Bergner’s tackling of issues of race.  With sensitivity and candor, he shows the subtle and not-so-subtle challenges the opera world poses to singers of color. … A vital, compelling and highly recommended book.”

Anne Midgette, The Washington Post


Accolades include:

A New York Times bestseller

A New York Times Notable Book

A New York Times Book Review Editor’s Choice

A Washington Post Notable Book

A Publishers Weekly Book of the Year

A Publishers Weekly Best Book of the Year

A Library Journal Nonfiction Pick of September