A MAESTRO’S LEGACY

David Gockley, former HGO General Director:

"Patrick, I still vividly recall our conversation back in the mid-’90s, when I first invited you to join Houston Grand Opera as Music Director. I knew you were the right person to lead the HGO Orchestra into its next chapter. I knew you would approach the opportunity with your understanding that achieving true artistic excellence would require not just vision, but years of commitment, grit, and care. Houston demands the best, and I knew you could get us there. What set you apart wasn’t just your musical gifts—it was your determined mindset, your deep well of patience, and your remarkable ability to nurture talent. You brought these qualities to bear in shaping the HGO Orchestra into the extraordinary ensemble it is today, capable of meeting the most demanding repertoire with grace and power.  It was a true privilege to have you by my side in Houston, and a joy to witness all you have continued to accomplish in the years since."

Renée Fleming, soprano:

“It has been my privilege to perform with Patrick Summers more times than I can count, including some of the most important occasions in both our careers. Patrick is a spectacular musician and a wonderful colleague. Working with him most recently at the Aspen Opera Theater and VocalARTS, I have witnessed his remarkable ear for talent, his devotion to education and mentorship, and his passion for sharing the wonders of opera with the widest possible audience. I know that these qualities have powered the steady increase in the national, and international, profile of Houston Grand Opera, the elevation of its musical values to the highest rank, and the undeniable prestige of its orchestra, over the course of his more than a quarter-century with the company.”

Jake Heggie, composer:

“Patrick has the rare and magical gift of understanding a composer’s intention—not just how the music goes, but what it means. His ability to then convey that clearly to the orchestra, chorus, and cast is miraculous. This gift, combined with his infectious passion for music, has inspired me to explore many different collaborations and sound worlds. From his earliest days as a conductor, he’s sought out talent and encouraged it to blossom. I’ve seen that with singers, conductors, pianists, administrators—even a young composer working in the PR department of San Francisco Opera 30 years ago.” 

Christine Goerke, soprano:

“Patrick Summers has been an extraordinary mentor and guide throughout my career. He was the first to believe in me in the challenging dramatic repertoire, and without his support, immense knowledge, and trust, I simply would not be where I am today. Performing Wagner’s Ring cycle with him at Houston Grand Opera is an unforgettable highlight of my journey, again made possible by Patrick’s artistry and visionary leadership. His legacy at HGO will forever be marked by these transformative experiences, and I will always be deeply grateful for his heart, soul, and unmatched musical magic.” 

Anthony Roth Costanzo, countertenor:

“I was terrified to walk onto the Met stage for the first time in front of a packed house as a finalist in their competition, but I was determined to really make music. While most singers that day were relying on popular standard fare to carry them to victory, I wanted to mine a rarer Handel masterpiece. Many other conductors would have dismissed this piece either as uninteresting or an unlikely road to the prize, but Patrick really dug in with me. He shaped every phrase and gave care to every note. He gave me freedom and structure, what every singer needs to fly. When I took to the stage and looked down at his shining face, I knew that I could forget all the pressures and anxieties and focus on the music. He subsequently supported me as a young singer when few did. I shall always be indebted to Patrick for our friendship, our artistic partnership, and the music we made together.”

Aryeh Nussbaum Cohen, countertenor:

“Congratulations on 28 extraordinary years leading Houston Grand Opera! You were the first Music and Artistic Director of a major opera company to invest in me and show me what I was capable of achieving; your belief in me was truly integral to my belief in myself. I first got to know the brilliance of Handel’s Julius Caesar under your baton, and now as I sing the title role around the world, I still think of the insights you shared during that production. Hearing you lead the HGO Orchestra as they exploded into the score of Elektra continues to inspire me to bring passion to everything that I sing. And an absolute career and life highlight was our Saul together. To be part of Barrie Kosky’s masterful production while finding so many layers in Handel’s otherworldly score together—it is an experience I will never forget. I am so grateful to be part of Messiah this season, and I know that we will continue to make many special memories together in the years to come.”

Benjamin Manis, conductor:

“One of the most important things an established artist can do for a young, aspiring musician is simply believe in them. Patrick has been there with me every step of my career, from when I first entered an opera pit to conduct a two-minute Handel duet in a masterclass, through my time as assistant conductor at HGO, and now to my work as a guest conductor. Patrick has been and continues to be an exceptional role model, and I will always be grateful to him. Not only for giving me a job out of school, but because he believed in me, which gave me permission to believe in myself. Thank you, Patrick, and congratulations on a truly extraordinary tenure at HGO!”

Jamie Barton, mezzo-soprano:

“Maestro Patrick Summers has championed my career from the very beginning, welcoming me into the Butler Studio as a young singer with very few credits to her name. His belief in my potential and his consistent encouragement became a source of support throughout my career. Many of my most treasured artistic milestones have come about through Maestro Summers: my first Ring cycle, the title role in La favorite, and creating a role in Jake Heggie’s Intelligence. All of this is wonderful—and makes my bio sound amazing!—but what I adore the most about Maestro Summers is less tangible. He somehow manages to equally revere both the music and the humans who bring this art form to life. Instead of dictating from on high, Patrick has always been a part of the team with us, working right alongside principal singers, orchestra and chorus members, music staff, and the hundreds of other amazing people who make up the HGO team. We have all benefited immeasurably from his steadfast leadership, and I’m so grateful to be in his orbit.”

Reginald Smith, Jr., baritone:

“I have been honored to have such a passionate supporter as Maestro Patrick Summers. From my early times in the Butler Studio, Maestro constantly pushed me to greater intellectual depths and higher artistic achievement through our individual coachings. From Rigoletto to Aida to The Wreckers to Falstaff, Maestro Summers has believed in my gifts. His passion for the repertoire encouraged me to work harder. I would not be the artist that I am today, were it not for his guidance. We salute you, Grandissimo Maestro!” 

Joel Thompson, HGO Composerin-Residence:

“I would never have had access to the world of opera were it not for Patrick Summers. Within hearing a few measures of my first piece for orchestra, he asked me if I’d written an opera, and when I said no, he moved mountains to fix that. My eternal gratitude for Patrick and his belief in me as a composer is a great source of fuel for me during this residency here at HGO. He’s already reminded me many times that he understands the messiness of the artistic process, the necessity of failure as a stepping stone to success, and that his investment in me (and the many artists that he has shepherded in this field) is with an eye on the long game. In our biweekly chats, I’ve been able to tap into his encyclopedic knowledge of the genre as I’ve been trying to find my own way in it, and that alone has been priceless.” 

Patricia Racette, soprano and director:

“Patrick Summers has been a part of my entire professional life! I began my career in my early twenties as a young artist in San Francisco Opera’s Merola and Adler Fellowship programs. Patrick already held the position of Music Director of Merola, even though he was only a few years older than I was. It quickly became apparent that he was a true wunderkind! He was integral in shaping my learning process and artistic identity. Patrick possesses a magnificent musical mind, a commanding presence on the podium, and an unwavering dedication to his craft. Over the past 35-plus years, we have shared so many meaningful collaborations, each deepening my admiration for his artistry. Beyond his extraordinary talents, he is also a dear and cherished friend.”

Tamara Wilson, soprano:

“It’s rare to encounter someone who believes in you so completely as a young artist. Patrick gave me countless opportunities, but it was more than that—he spoke with conviction to the opera world about my potential, not only through his recommendations but through his unwavering actions. My career is what it is today because of Patrick’s confidence and tireless support. His legacy at Houston Grand Opera is undeniable. The many artists he believed in, mentored, and championed are now thriving in their careers because of the foundation he helped build. His impact is felt far beyond the stage, in every career he’s shaped and every artist he’s lifted up.”

Joyce DiDonato, mezzo-soprano:

“I owe so much to Patrick Summers—if not everything. As a young artist who had been pigeon-holed into a certain box, my future as an emerging artist was looking quite fixed and, to be honest, not too exciting. But as he arrived in 1998, the season before he officially began as Music Director, all of the young Studio artists auditioned for him. Much to my surprise, as he listened to me for the first time with his keen ears, something connected with him, and he hired me for three lead roles on the spot. The encouragement I received from his vote of confidence was absolutely part of the catapult that helped launch my career. So you can imagine my gratitude is immense. But where my heart truly lies with Patrick is in the wonderful, deep, and insightful conversations slotted in between rehearsals, or after shows, and in the deep joy and pure wonder shared through the music of Handel and Mozart and Rossini. (His face full of childlike wonder as he launched into a perfect overture will always be my image of him!) Patrick, thank you for the deep investment in humanity that you have made through all of your performances, your mentoring, your writing, and your conversations. We are all the better for it.”

Iestyn Davies, countertenor:

“I worked with Patrick at HGO on Neil Armfield’s beautiful production of Britten’s A Midsummer Night’s Dream. I remember auditioning for Patrick in the chorus room at Covent Garden, London, way back near the start of my career. I can’t thank him enough for choosing me to sing the role of Oberon in this production. It was my first outing as the King of the Fairies, and I couldn’t have had a more receptive and supportive conductor than Patrick with whom to do that. It was a young and ambitious cast, and we will all remember that time with fond memories, not least as Patrick held a fabulous housewarming party in his new apartment at the time. I later learned that it was off the back of this run of Dream that I was cast in a revival of Tim Albery’s production of the same piece at The Metropolitan Opera, and from then on Oberon has become a staple of my repertoire. So, thank you Patrick for your faith in me at the start and such a wonderful welcome and time in Houston!”

Jay Hunter Morris, tenor:

“If a singer is very, very lucky, they may be granted a champion or two—someone who not only believes in their gifts, but also opens those elusive, ofttimes hidden doors of opportunity. Patrick was a champion for me over many years and a fantastically broad range of repertoire. Oh, that gorgeous new production of Madame Butterfly at the Sydney Opera House! We were both quite young, and I remember being stunned—mesmerized—at how masterfully he led that orchestra. He never lost touch with the singers, never missed a cue, and waited patiently while I always sang behind the beat. I believe he is the ultimate singer’s conductor; there is no clearer, more precise baton in the pit, whether for A Streetcar Named Desire, Louise, Dead Man Walking, Moby-Dick, or Siegfried. I will always be grateful to you, Patrick. What amazing times we shared.”

Eun Sun Kim, conductor:

“With deep admiration and gratitude, I celebrate Patrick’s remarkable leadership and artistry at Houston Grand Opera. For over 25 years, he has shaped HGO with vision, dedication, and an unwavering commitment to excellence. His generosity in mentoring young artists and his passion for the art form have left an indelible mark on the company and the future of opera. It has been an honor to serve as a principal guest conductor during his tenure, and I am profoundly grateful for his friendship and collaboration. Patrick, your legacy is one of brilliance and inspiration—wishing you continued success in all that lies ahead.”

Richard Bado, HGO Chief Artistic Officer and Chorus Director:

"I would dare to say that no one at HGO has worked closer artistically with Patrick than I have. From day one, it was clear that he was the right person at the right time for this job. He immediately brought a musical standard to the company which we all have worked hard at to maintain. He and I have developed a close working relationship based upon respect and trust. Patrick brings to the table a complete respect for the composer and inquisitive nature in his approach to musical works. He makes all of us around him better musicians, and I thank him for that."