Canadian-American baritone Micah Schroeder, praised for his “smooth as glass lyrical contours” (The National Post), has established himself as a versatile interpreter of lyric and contemporary repertoire, with a particular affinity for new music and French opera.

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Recent and upcoming engagements include the title role in Mason Bates and Mark Campbell’s The (R)evolution of Steve Jobs at Theater Aachen, Farraz in Jo Dooba So Paar with Boston Lyric Opera and Catalyst New Music, and performances in the acclaimed production of Malina at Theater Aachen and the Schwetzingen Festival. He has also appeared in Claude Vivier’s Kopernikus at Bogotá’s Teatro Mayor and in opera and concert performances throughout Canada and Europe.

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Schroeder is an alumnus of the Opera Studio of the Opéra National de Lyon, the Vancouver Opera Yulanda M. Faris Young Artist Program, and the Opera Idaho Young Artist Program, with further training at the Banff Centre and Aspen Opera Center. His repertoire includes roles such as Pelléas, Papageno, Don Giovanni, Eugene Onegin, Count Almaviva in Le nozze di Figaro, Figaro in Il barbiere di Siviglia, and Schaunard in La bohème.

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Contemporary music forms a central part of Schroeder’s artistic work. He has created roles in new operas, including Quinn in the world premiere of Nicole Lizée’s R.U.R. A Torrent of Light with Tapestry Opera, and regularly collaborates on repertoire that bridges opera, chamber music, theatre, and new creation.

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Alongside his operatic work, Schroeder is an active recitalist. His programs in Canada and Europe combine established song repertoire with contemporary works and independently curated projects, including Fragments and Everlastingness. His artistic interests are shaped by a commitment to identity, theatrical immediacy, and repertoire that sits beyond the conventional boundaries of the operatic canon.

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Based in Berlin, Schroeder works internationally across Europe and North America.