William Hite’s reputation as a engaging and expressive artist has led to engagements with the Boston Symphony Orchestra, Dresdner Philharmonie, American Symphony Orchestra, San Diego Symphony, Washington Bach Consort, New York City Ballet,  Mark Morris Dance Group, New York Collegium, National Arts Center Orchestra (Ottawa), Charlotte Symphony, Boston Baroque, Toronto Consort. Emmanuel Music, Tafelmusik and Philharmonia Baroque under the direction of Bernard Haitink, Seiji Ozawa, James Levine, Rafael Frübeck de Burgos, Nicholas McGegan, Christopher Hogwood, Jane Glover, Robert Spano, Grant Llewellyn, Leon Botstein, John Harbison, Craig Smith and Peter Schreier.

Mr. Hite’s recent and upcoming engagements include his Carnegie Hall debut in Messiah with Music Sacra, his Kennedy Center debut with the Washington Chorus in Haydn’s Paukenmesse as well as appearances with the Boston Symphony in Fidelio, the St, Matthew Passion and Schoenberg’s Moses und Aron, Berlioz’s L’Enfance du Christ with the Dresdner Philharmonie, Beethoven’s Ninth Symphony with the Vermont Symphony, Britten’s War Requiem at Duke University, King Arthur with Chicago’s Music of the Baroque, Bernard Rands’ Canti del sole with the Boston Modern Orchestra Project and Mattheson’s Boris Goudenow with the Boston Early Music Festival.

 The tenor’s operatic credits include the title roles in  The Rake’s Progress, Acis and Galatea, Handel’s Jephtha and Belshazzar, Il ritorno d’Ulisse in patria and Cavalli’s L’Ormindo, as well the role of Roderick Usher in the world premiere of the Philip Glass opera The Fall of the House of Usher at the American Repertory Theater and the Kentucky Opera. He performed the role of Orfeo in Peri’s Euridice with the Long Beach Opera and has been a regular at the Boston Early Music Festival in period stagings of Monteverdi and Rossi’s  Orfeo, Cavalli’s Ercole amante and King Arthur.  Additional operatic world premieres include the works of Theodore Antoniou, Ellen Ruehr and Lew Spratlan.