Tom Carle is an emerging tenor extolled for his "tremendous enthusiasm, massive smile and bright, powerful voice."  Having graduated from Westminster Choir College in May 2016 with a Master of Music in Performance and Pedagogy, Tom actively performs internationally and teaches in the New York and New Jersey areas.

On the operatic stage, Tom most recently appeared as “Ferrando” in Mozart’s Cosi fan tutte with Opera on the James and “Giuseppe” in Verdi’s La traviata with Sarasota Opera.  Other opera credits include “Tom Rakewell” in Brooklyn Opera’s The Rake’s Progress, “Fenton” in Westminster Opera Theater’s production of Falstaff, “Drunken Man” in The Little Prince with Opera Fayetteville, “Tamino” in Mozart’s The Magic Flute with Bucknell University Opera Company, and “King Kaspar” in Amahl and the Night Visitors with Susquehanna Valley Chorale.  Operetta and Musical Theater credits include “Captain Ladislaw” in Herbert’s Lady of the Slipper, “Von Asterberg” in

Romberg’s The Student Prince, “Jacey Squires” in Willson’s The Music Man, and “Ritz Quartet” in Porter’s Anything Goes with The Ohio Light Opera.

Tom frequently appears as a concert soloist at Sarasota Opera and with ensembles such as The Unity Choir and Sussex County Oratorio Society in the New York metro area.  He has been a featured soloist in Mozart’s Coronation Mass, Handel’s Messiah, Beethoven’s Mass in C, and Dvorak’s Stabat Mater.

In addition to operatic and concert work, Tom is involved with numerous music projects.  He recently recorded an album with Paragon Ragtime Orchestra and Grammy winning producer, Judith Sherman.  The album, released in December 2015, features popular and lost tunes written by popular ragtime composer, Irving Berlin. His most recent projects included winter and fall residencies with Sarasota Opera and an April 2018 recital featuring art songs composed by Brahms and Schumann.

"Tom Carle sang Tom Rakewell with clear diction, earnest self-confidence and a hearty, assertive tenor.”

-Parterre Box

Tenor Tom Carle was a potent Barry O’Day, playing up his tremendous enthusiasm with a massive smile and bright, powerful voice. In Carle’s interpretation, there was simply nothing this hero couldn’t do.  From wooing any woman he pleased, to dancing about his comrades to dominating in a duel to singing luxurious phrases with beaming high notes, Carle looked unstoppable throughout the evening

-Opera Wire