Acclaimed for his performances of contemporary works, he recently triumphed in leading tenor roles in the world premiere of O’Regan’s The Phoenix and Chairman Mao in Adams’ Nixon in China with the company, following his debut of the latter with San Diego Opera. He is a frequent leading presence with Houston Grand Opera and has joined the company previously for Pollione in Norma, Aegisth in Elektra, Don José in Carmen, Froh in Das Rheingold, Cavaradossi in Tosca, Alfredo in La traviata, Pinkerton in Madama Butterfly, the Witch of Endor in Saul, Fredrik Egerman in A Little Night Music, Camille in Die lustige Witwe, Janek in The Makropolous Case, Tamino in Die Zauberflöte, Captain Vere in Billy Budd, and Nemorino in L’elisir d’amore. He has joined the Opéra National de Lorraine numerous times, including for the title role of Idomeneo, Giasone in Cherubini’s Medea, Don José in Carmen, Jack in Gerald Barry’s The Importance of Being Earnest, Lysander in A Midsummer Night’s Dream, Guido Bardi in Eine florentinische Tragödie, Lechmere in Owen Wingrave, Tamino in Die Zauberflöte, and the title role of Candide.
His returns to the Metropolitan Opera as Father Grenville in a new production of Dead Man Walking and Utah Opera as Erik in Der fliegende Holländer have been postponed due to COVID-19, as is his role debut as Herod in Salome in a return to Houston Grand Opera.
Last season, he joined the Houston Symphony for selections from Handel’s Messiah and Austin Opera for a concert of favorites. He joins Houston Grand Opera, his home company, as the Father Confessor in Dialogues des Carmélites. His bright tone amplified the intensity of the last gripping moments.” In the 2021-22 season, he returns to the Metropolitan Opera as the Loud Stone in Aucoin’s Eurydice and Third Player in Dean’s Hamlet, both company premieres, as well as returns to the production of Elektra. Shelton owned the final scene, as his character descended into despair fueled by psychotic obsession. Opera News praises tenor Chad Shelton for one of his trademark roles, claiming that his “Don José was the dramatic heart of this production this was a performance that grew in complexity as he struggled to reconcile the forces of loyalty, lust and fate.
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