Additional highlights include Hal Prince’s production of Candide with New York City Opera, Matthew Aucoin’s Eurydice–only the second conductor other than the composer to lead the work, American Modern Ensemble’s double bill of Robert Paterson and Mark Campbell’s The Whole Truth, and Stewart Copeland and David Bamberger’s version of The Cask of Amontillado. In a single season, Deaton conducted three pinnacles of the Bel Canto canon, Lucia di Lammermoor, Norma, and Guillaume Tell. In the 2024-2025 season, he made a lauded return to Fort Worth Opera to conduct Adamo’s Little Women. He is also the editor of the recently-revised score of Ricky Ian Gordon’s Tibetan Book of the Dead following performances of the work with Opera Grand Rapids. 

 

He joined San Francisco Opera for their production of Sweeney Todd, soon followed by his debut at Opera Birmingham with L’elisir d’amore. As guest conductor, he also played continuo for Le Nozze di Figaro at The Janiec Opera Company at the Brevard Music Center. He reprised this opera for his Kentucky Opera debut in 2020, following soon after the initial workshop of Joel Thompson and Andrea Pinkney’s The Snowy Day for Houston Grand Opera.

 

Tyson Deaton made his Fort Worth Opera debut in the inaugural production of the Opera Unbound series with Tom Cipullo’s Glory Denied, and is heard conducting the premiere recording this work on the Albany label. Lauded as “Best of 2013” in the Washington Post, it was also rated among the “12 Best Full-Length Opera Recordings of 2014” by OperaNews. Other digital releases include Offenbach’s rarity L’île de Tulipatan (Albany), and with Julia Kogan “In Jest,” (First Hand Records - UK) recorded at Champs Hill. As a scholar and editor, he recently published the landmark five-volume critical edition of the songs of Joseph Bologne de Saint-George, recordings of which are slated to be released in early 2027.

Adept on the concert stage as well as in the orchestra pit, Tyson Deaton has worked with musical forces ranging from Lieder and song recitals and chamber works, to those including the Louisville Orchestra, Fort Worth Symphony, Alabama Symphony, Anchorage Symphony, and The American Modern Orchestra, along with gala concerts for Opera North Carolina and Charlottesville Opera. In December 2025, he makes his Phoenix Symphony debut conducting Handel’s Messiah. He has partnered with artists including Denyce Graves, Michael Norsworthy, Talise Trevigne, Linda Wang, Judith Kellock, Julie Landsman, Victoria Livengood, Craig Mumm, Rainelle Krause, and Sherrill Milnes, among many others. Along with Steven LaBrie, he collaborated with the Jessica Lang Dance Company on a staged version of Die Schöne Müllerin at the Brooklyn Academy of Music, “render[ing] the score with compelling artistry,” according to the New York Times. 

Deaton has been presented in recital alongside tenor Matthew Grills at the John F. Kennedy Center for the Performing Arts, which included Benjamin Britten's Canticle I, one of the featured events celebrating that composer's centenary. He performs regularly with baritone Matthew Worth: their most recent program touches three centuries of the American musical heritage. A fervent advocate for the music of our time, he has most recently premiered works by Randall Eng and Melisa Tien, and excerpts from Rhino!, a collaboration of Stephen Hartke and David Schweitzer. Deaton also has commissioned a number of works including David T. Little’s setting of To a Stranger, co-commissioned by The Walt Whitman Project of New York.

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In addition to his performing career, Deaton is an influential mentor having held academic appointments at University of the Pacific and Lawrence Conservatory, and as an Artist-in-Residence at McGill University in Montreal. He has been a Guest Artist at Yale, Rice, and Carnegie-Mellon Universities, and others. The singers he has coached occupy the rosters of The Metropolitan Opera, Bayerische Staatsoper, San Francisco Opera, Deutsche Oper Berlin, Houston Grand Opera, Liceu-Barcelona, Paris Opera, The Barbican, Oper Frankfurt, La Scala and other major venues throughout the world. 

As a clinician for pianists, singers, and conductors, Tyson Deaton is often invited to give masterclasses and lectures on collaborative and operatic literature, and many special interest topics. A recent lecture on Anna Schoen-René, a pivotal figure in Deaton’s own musical lineage, has been highly acclaimed. For Opera America, he has acted as a panelist for Making Connections and Career Blueprints workshops, commissioning grants, and has been a featured contributor to their ArtistLink publication. A sought-after adjudicator, Deaton has served on competition panels for the ASCAP Plus Composer Awards, the HGO Bauer Family Competition, Opera at Florham, Vanderlaan, Giulio Gari, Gerda Lissner, Opera Birmingham, Sam Houston State Song Festival. He is currently on the Advisory Board of the Wagner Society of New York, where he co-chairs the Singers Committee and recently led a featured conversation with Craig Rutenberg.

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Deaton’s extensive experience as a pianist, coach, recitalist, chamber musician, and his training and work as a singer, give him a unique perspective in understanding the demands of the whole performance as a conductor: above all, encouraging individual artistry at the highest level. Recognized for his discerning casting instincts, Deaton is frequently sought after for his ability to match artists to roles with artistic sensitivity, dramatic insight, a skill informed by his extensive knowledge of the voice, production, dramaturgical, and theatrical convention across standard and contemporary repertoire.

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Tyson Deaton maintains his primary residence in New York City.