Joseph Hubbard is establishing himself as an in-demand singer with a burnished bass voice and noteworthy dramatic skill. Most recently seen as Figaro in Le nozze di Figaro, Henry Mosher in Picker's Emmeline, Bass/Allen Ginsberg in Glass/Ginsberg's Hydrogen Jukebox, Bottom in A Midsummer Night's Dream, and Mother in Weill/Brecht's Seven Deadly Sins with Boston University Opera Institute; Colline in La Bohème and Orazio in the new world revival of Franco Faccio's Amleto with Opera Southwest; Seneca and Littore in L'incoronazione di Poppea with the Dunbar Early Music Festival and again at the Aldeburgh Festival Britten-Pears Programme (UK); and Sarastro in Die Zauberflöte with the Aspen Music Festival. Other operatic roles performed include Chucho in the world premiere staging of Bolcom's Lucrezia; Sup. Budd in Albert Herring, Horace in Regina; Publio in La clemenza di Tito; Micha in Prodaná Nevĕsta (Bartered Bride); Bartolo in Le nozze di Figaro; Don Alfonso in Così fan Tutte; Doc Gibbs in Our Town; Snug in A Midsummer Night's Dream.
Mr. Hubbard is also an esteemed concert soloist with extensive experience in early music performance. Recent soloist engagements include Beethoven 9 at Boston Symphony Hall with BU Symphony Orchestra conducted by Ken-David Masur; Bach's Mass in B Minor with the Handel Society of Dartmouth College; the title character of Fauvel in the 14th century tale of Le Roman de Fauvel with Newberry Consort; a solo cantata by Johann Schelle with the Duke University Vespers Ensemble and North Carolina Historically-Informed Performances Festival; Bach Cantata 153 with Madison Bach Musicians; a concert of 17th century Roman sacred music with the Duke University Vespers Ensemble at the Boston Early Music Festival; Monteverdi and Schütz with Mountainside Baroque; Messiah with Bella Voce and Callipygian Players; and a debut at The Morgan Library and Museum (NYC) with Schola Antiqua Chicago. He was invited to be a soloist and ensemble member of the inaugural Early Music America Festival Ensemble at the Boston Early Music Festival, performing Gabrieli, Praetorius, and other early baroque music, directed by Scott Metcalfe. Other recent concert work includes Lassus' Lagrime di San Pietro; Haydn's Lord Nelson Mass; Handel's Judas Maccabaeus; Bach's Easter Oratorio and Magnificat; Mozart's Coronation Mass; Herod in Schütz's Weinachtshistorie; and as bass soloist and ensemble member of Monteverdi's Vespers of 1610 in touring performances with Orpheus Chamber Singers and Grammy-nominated Ars Lyrica Houston, and again with the internationally respected University of North Texas Collegium Singers and Baroque Orchestra. In 2010, he was invited by American Bach Soloists to sing the bass solos in Bach's Mass in B minor, one-per-part performances of Bach motets, and numerous selections from Monteverdi's Book VIII of madrigals for the inaugural year of their American Bach Soloists Academy. He has been heard three times as a soloist and ensemble singer at the Boston Early Music Festival.
A distinguished ensemble singer across many genres, Mr. Hubbard was invited in 2013 to sing as a finalist with the internationally renowned ensembles Cantus and Chanticleer. He has been engaged with such professional ensembles as Handel + Haydn Society; Music at Marsh Chapel; Schola Antiqua of Chicago; Bella Voce and Camerata; St. James Chicago Cathedral Choir: Orpheus Chamber Singers; Orchestra of New Spain; The Adler Consort; and the South Dakota Chorale, with whom he is a founding member and Artistic Advisor. He can be heard on the Naxos, Gothic, and Pentatone record labels.
Joseph Hubbard holds degrees from the University of North Texas (B.M., Vocal Performance, '11) and Northwestern University (M.M., Voice Performance and Literature, '13), with a Certificate from the Opera Institute at Boston University ('17).