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"A gifted and fiercely committed young baritone"
Opera News

Note from Wes

Well, here we are nearing the end of 2015 – one of the most rewarding years of my life. What a journey it has been!

Wes as Billy Bigelow with Molly Mustonen as Julie Jordan

Wes as Billy Bigelow with Molly Mustonen as Julie Jordan

This past summer was truly a joy. Carousel with Utah Opera Festival and Musical Theatre was a smash hit with the audiences in Logan and it was a privilege to interpret yet another dream role, Billy Bigelow. Additionally, the Seagle Music Colony 100th Anniversary was a blast and Roscoe received an outstanding reading in its workshop.

Turandot with Nashville Opera turned out to be the highest grossing show in the company's history and to be a part of that is such an honor. You can read more in the press section.   

I am now deep into rehearsals in Dallas for the world premiere of Jake Heggie and Terrance McNally's Great Scott and Puccini's Tosca with Dallas Opera. Watching this cast and crew come together to tell our story as servants to the art form of opera in Great Scott has been overwhelmingly inspiring. You don't want to miss this. And, of course, there are simply no words to accurately describe the rush that is the full orchestration and drama of Tosca

We'll wrap things up at the end of November with a concert of Rossini highlights with the Dallas Opera Orchestra under the direction of acclaimed conductor Peter Manning in the Winspear Opera House. We hope to turn a whole new audience of children to the world of opera!



Utah Festival OPERA
and Musical Theatre

Wes's Billy Bigelow received raves for his "robust, sharp-edge voice perfect for the role," as well as his "incredible vocal prowess with the strength and power required of the leading man." 

Read more reviews.



Fort Worth Opera

Wes joined Fort Worth Opera General Director Darren Keith Woods to give WFAA-ABC a sneak peak at this year's festival!

Wes also talked to Theater Jones and the Star-Telegram about the style of Thomas' opera and differences audiences may notice from the Shakespearean source material.


Before Night Falls continues to intrigue

Becoming Reinaldo Arenas: Family, Sexuality, and the Cuban Revolution, published in April, includes this comment by author Jorge Olivares:

"I suspect that Arenas...would have have been delighted with the casting of Wes Mason, who embodied him on stage with charisma, confidence, and vigor. (I can hear the irreverent Arenas making libidinous remarks about the hunky baritone.)"