Sean Pflueger, bass-baritone, has sung with many companies in the Washington area. DC Theater Scene said of a recent performance, "Pflueger… plays Rosenblum with hapless innocence and body language as expressive as his voice.”
Selected Roles: Sarastro in Mozart’s The Magic Flute, The Count in John Phillip Sousa’s Desiree, Bob in Menotti’s The Old Maid and the Thief, Masetto/Il Commendatore in Mozart’s Don Giovanni, Marquis in Verdi's La traviata, Nerino in Handel's Guilio Cesare, Pooh-Bah and Pish-Tush in Gilbert and Sullivan’s The Mikado, Lord Mountararat in Gilbert and Sullivan’s Iolanthe, Foreman in Gilbert and Sullivan’s Trial by Jury, Mars in Offenbach’s Orpheus and the Underworld, Alcindoro/Benoit in Puccini’s La Boheme, Chevalier in Victor Herbert’s Madeleine, Rambaldo in Puccini’s La rondine, Betto and Master Spinelloccio/Amatio di Nicolao in Puccini’s Gianni Schicchi, St. Peter in Penhorwood’s Too Many Sopranos, David Drayton inPflueger'sChildren in the Mist,and Ethan Rosenbloom inPflueger's Do Not Disturb.
Concert/Oratorio: Bass solos in Handel's Messiah, Bach’s Canata 59, Mozart’s Requiem, Haydn’s Mass in the Time of War and Faure's Requiem among others. Mr. Pflueger was 2011 Baritone winner of the City Choir of Washington’s Young Artist Competition. He has also sung in "Yes, Virginia, there is a Santa Claus" Program with The One and Only Santa Claus.
Mr. Pflueger regularly performs with the Washington National Opera at the Kennedy Center and Washington Concert Opera as a member of the chorus. He will be appearing in Daughter of the Regiment, Champion, and Leonora this 2016-2017 season.
Sean Pflueger is a Washington DC-area singer and composer with a focus on works for the voice. His music has been performed by Riverbend Opera Company, Forgotten Opera Company, James Madison University, and churches in the DC-metro area. Prior works for the stage include Children in the Mist, a horror opera for 14 soloists and chorus based on the Stephen King short story "The Mist," which premiered at the 2012 Capital Fringe Festival; and Do Not Disturb, an original farce for 10 soloists, piano, and woodwind quartet, premiered at the 2016 Capital Fringe Festival. Hailed for its "fine, contemporary musical score" (MD Theatre Guide) and "complicated and beautiful melodies," (DC Metro Theatre Arts), Children in the Mist was awarded Best of the Capital Fringe from DC Theatre Scene, and a Top Pick by Huffington Post and Brightest Young Things.
Other major works for the voice include a 12-song cycle of William Blake poems entitled The Songs of Innocence, an oratorio, The Joyful Mysteries, and choral settings of the poetry of William Cullen Bryant, including “Thy Creation,” “All things on earth shall wholly pass away,” and “The Prairies”. He received commissions by for two choral pieces "For I know the plan" and "Sacrum Convivium" by Wesley United Methodist Church in Vienna, VA. He also created the theme music for George Mason's Mason Out Loud Podcast. Mr. Pflueger's arrangements for voice, piano, and winds have been used in concert and church performances throughout the Washington D.C. Metro area. Mr. Pflueger studied composition with John Hilliard at James Madison University and is the recipient of the Strauss Fellowship from the Arts Council of Fairfax County for music composition.
"This bubbly concoction is like an ice cream soda. It's sweet and funny and beautifully performed, all of which helps to explain why it's nearly sold out."
"This is a light opera in which all the actors are so light on their feet they almost levitate."
"Sean Pflueger, who is also the composer and co-author of Do Not Disturb,plays Rosenblum with hapless innocence and body language as expressive as his voice."
"(Sean Pflueger) fully inhabits the figure of Rosenblum, the slightly uptight and overzealous attorney, and proves quite endearing, playing both the comic aspects of his character and the tender moments with equal skill."
"Pflueger has written a wonderful romantic aria that turns him at a pivotal moment of decision in a new direction for Ethan Rosenblum"
"The work shows Pflueger has developed a tighter control of material. Musically, the score with its peppery wordplay, full of legalese and social media lingo, has the feel of a modern Gilbert & Sullivan."