Nicholas made his debut with Florida Grand Opera as a member of their prestigious Young Artist Program, where he was in residence for the 2015-17 seasons. He reprised his role as Marco in Gianni Schicchi, and also sang the role of Mr. He then traveled to Montréal, Québéc, where he joined the Canadian Vocal Arts Institute. He also appeared in the annual Cabaret and song recital. He was featured in a double bill of Gianni Schicchi as Marco, and as Duke Cacatois XXII in Offenbach’s L’Ile de Tulipatan. In 2017, he joined the Crested Butte Music Festival in multiple performances. He also joined Opera Fayetteville for their Opera in Bloom Festival, where he performed in a series of short operas by composers such as Oliver Caplan, Tom Cipullo, Ronnie Reshef, and Tony Solitro. Earlier last season, he sang the role of Papageno in Die Zauberflöte at Houston’s Opera in the Heights, and Le Mari in Poulenc’s Les Mamelles de Tirésias with Opera MODO in Detroit. Also with Crested Butte, he appeared in their Bernstein Celebration Concert with the CBMF Symphony Orchestra, as well as an all-Gershwin cabaret. In the summer of 2018, he made an exciting role debut as Ford in Verdi’s Falstaff with the Crested Butte Music Festival. He also joined the roster of the New York City Ballet for the Brahms Liebeslieder Walzer. Louis, Schaunard in La Bohème with Union Avenue Opera, and Charles Knight in Rhoda and the Fossil Hunt with Lyric Unlimited. He was also seen as Taddeo in L’Italiana in Algeri with Winter Opera St. Last season, he made his Chicago Opera Theater debut by stepping in as a cover for the role of Mr. Upcoming engagements include the Regular Chorus of the Lyric Opera of Chicago, Opera Birmingham’s “Catch a Rising Star” recital, and the baritone soloist in Carmina Burana with the Northwest Indiana Symphony Orchestra. The young performer is quickly becoming known for his versatility, swift comic timing, and his warm and expressive voice. Baritone Nicholas Ward has been hailed as a performer of “ effortless voice and agile presence ” (Houston Press).
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