Celebrated for his rich tone and thoughtful artistry, Harrison Hintzsche reflects on the early experiences that helped shape his career—and the mindset that keeps him grounded.
Harrison Hintzsche, praised by Opera News for his “sonorous” baritone voice, has built a dynamic and multifaceted career that bridges the worlds of art song, Baroque music, and choral performance. A regular on internationally renowned stages—from London’s Wigmore Hall to Seoul’s National Theater—Harrison is also a familiar voice with many of today’s leading choral ensembles, including the Oregon Bach Festival Chorus. But long before his professional success, Harrison was a high school student discovering his love for music at the Stangeland Family Youth Choral Academy (SFYCA). We caught up with him to learn more about his path from SFYCA to international acclaim, and the lessons that continue to guide him.
Q: Your singing career has taken you to some incredible places. Can you share more about your journey and what led you to where you are today?
A: I owe a huge part of my journey to the many wonderful teachers and mentors who took interest in me, helped me develop my craft, offered great artistic insight, and challenged me to strive for my highest potential. That constant inspiration helped fuel my drive as a musician. Another big factor was a mindset I adopted toward the end of my undergrad degree. When I was facing the dreaded “now what?” question, I made a deal with myself: sing whatever and for whoever was willing to listen. That approach pushed me to get in front of a wide range of audiences and collaborators, collecting musical experiences and perspectives without pigeonholing myself too early.
Q: Looking back, how did SFYCA influence your musical growth and shape your path as professional singer?
A: SFYCA gave me a glimpse into what it’s like to be a professional musician and instilled important skills and habits that remain foundational to my work. I remember Dr. Armstrong as a tough, demanding, and extraordinarily inspiring conductor. He never treated us like a high school choir—he treated us like professionals and expected our best. Being in that environment, surrounded by other serious young musicians, helped cultivate my discipline, focus, and love for choral excellence.
Q: What is your favorite memory from SFYCA? Was there a particular moment, piece, or experience that stands out?
A: There are many, but a few moments shine particularly bright. I was deeply moved by the repertoire—especially Bernstein’s Chichester Psalms and Bach’s Herz und Mund und Tat und Leben. Those pieces still hold a special place in my heart today. Dr. Armstrong had such a powerful way of guiding us through the emotional and compositional brilliance of those works. On a personal note, SFYCA is also where I met my future college roommate—we ended up living together for four years and are still lifelong friends.
Q: The choral world has evolved in many ways since your time at SFYCA. What excites you most about the future of choral music and performance?
A: I’m really inspired by the way ensembles are thinking more critically about programming—what it means to tell a story through music, and how art reflects the world around us. I’ve seen more open, honest conversations among performers and audiences about repertoire context, relevance, and impact. Asking “why do we care?” makes the experience more meaningful. When artists take the “why” seriously, the result is more fulfilling, more human, and more powerful—for everyone.
Q: If you could go back and give your high school self one piece of advice—musical or otherwise—what would it be?
A: Be patient and give yourself space to grow as an artist. More importantly, learn to be friends with yourself. It’s crucial to be kind to others, but equally important to be kind to yourself—especially when it comes to the way you speak to yourself internally.
