RAPHAËL LADEN-GUINDON

Canadian-American bass-baritone Raphaël Laden-Guindon is recognized for his “authoritative voice” (Boston Musical Intelligencer) and “contagious sensibility” (Revue l’Opéra). Praised for his nuanced interpretations of art song as well as his work in early music, concert, and operatic repertoire, he performs widely across the United States and Canada.

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In the 2026 season, he will join the Tanglewood Music Center as a Vocal Fellow and make his debut with the GRAMMY-nominated ensemble Seraphic Fire. In 2025, he appeared with the Boston Early Music Festival as a member of its Young Artist Training Program, performing Claudio in Handel’s Agrippina and covering the role of Nero in the North American premiere of Reinhard Keiser’s Octavia.

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Recent concert appearances include his debut with the Saskatoon Symphony Orchestra in Bach’s St. John Passion, performing the role of Jesus and the bass arias. A versatile stage performer, he has appeared as Peter Quince in Britten’s A Midsummer Night’s Dream and as The Baritone in Matthew Peterson’s Voir Dire with the Boston Conservatory. Other recent roles include Harapha in Handel’s Samson with the Cambridge Chamber Ensemble and the title role in Mozart’s Le nozze di Figaro with NEMPAC Opera and the Boston Festival Orchestra.

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Contemporary repertoire also features prominently in his work. He appeared in the world premiere of Keiko Devaux’s chamber opera L’écoute du Perdu with Musique 3 Femmes and Ensemble Paramirabo and has collaborated on new music projects throughout the United States and Canada.

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Earlier credits include the title role in Mozart’s Don Giovanni, Ophémon in Chevalier de Saint-Georges’ L’amant anonyme, and Polyphemus in Handel’s Acis and Galatea. He is also a frequent concert soloist in works by Bach, Handel, and Fauré.

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Raphaël holds graduate degrees in voice and opera from McGill University, where he was awarded both SSHRC and FRQSC research fellowships, and a bachelor’s degree in musicology from Yale University. He is currently a staff singer at Trinity Church Boston, where he performs regularly as a bass soloist. He writes about opera, performance, and musical culture on his Substack newsletter, The Opera Glass.