A dedicated educator and mentor, Matthew Treviño brings a wealth of professional and academic experience to his role as Assistant Professor of Voice at the University of Wisconsin–Madison. His teaching centers on the development of healthy, sustainable vocal technique and honest, individualized artistry, with the goal of preparing singers for long-term artistic lives. He is deeply committed to meeting students where they are, while challenging them to take increasing ownership of their instruments, their craft, and their professional trajectories. His studio environment is supportive, rigorous, and inclusive, designed to foster artistic independence, curiosity, and resilience.  His research explores the intersection of historical vocal pedagogy and contemporary vocal music, with particular emphasis on low voices and the creation and performance of new repertoire that expands expressive and technical possibilities for today’s singers.

Matthew previously served as Professor of Voice and Area Chair at McGill University in Montréal, Canada. His students have gone on to successful careers across North America, appearing with leading institutions including the Canadian Opera Company, the Toronto Symphony Orchestra, the Orchestre symphonique de Montréal, the Vancouver Symphony Orchestra, Opéra de Montréal, Vancouver Opera, Calgary Opera, The Banff Centre, Dallas Opera, Fort Worth Opera, Austin Opera, and Sarasota Opera.

A committed advocate for contemporary opera and living composers, he has starred in four commercial recordings of new music, including Carly Simon’s Romulus Hunt (Lexicon Classics), Gordon Getty’s The Canterville Ghost (Pentatone), Michael Nyman’s The Man Who Mistook His Wife for a Hat (Naxos), and Robert Patterson’s Three Way (American Modern Recordings). He recently appeared in the world premiere of Everlasting Faint with the Madison Opera and his new album The Farther Shore, 21^st Century Songs and Arias for Bass Voice will be released this year continuing his work in close collaboration with composers and in expanding the recorded and performed repertoire for bass voices.

In addition to his academic work, Matthew maintains an active international performance career. Recent engagements include Bonze in Madama Butterfly and Ferrando in Il trovatore (Opéra de Montréal), Dr. Bartolo in Le nozze di Figaro(Calgary Opera, Austin Opera), Dr. P in The Man Who Mistook His Wife for a Hat (Nashville Opera), Friar Laurent in Roméo et Juliette (Florentine Opera), and Dr. Grenvil in La traviata (Calgary Opera). Other highlights include Sparafucile in Rigoletto (Vancouver Opera, English National Opera, Hawaii Opera Theatre, Opera Memphis), Raimondo in Lucia di Lammermoor and Leporello in Don Giovanni (Opera Colorado), Hobson in Peter Grimes (English National Opera), and The Client in Three Way (Brooklyn Academy of Music, Nashville Opera). He has also appeared as a soloist in major concert works including Beethoven’s Symphony No. 9 (Santa Fe Symphony) and Handel’s Messiah (St. Louis Symphony).

Professor Treviño holds degrees from Baylor University, where he received the Thomas Stewart Award for Vocal Excellence. He is an alumnus of the San Francisco Opera’s Merola Opera Program and a prizewinner in the Loren L. Zachary Foundation Competition, the Dallas Opera Competition, the Fort Worth Opera McCammon Voice Competition, and recipient of the 2010 Austin Critics Table Award.

He lives in Verona, Wisconsin, with his wife Catherine, their son Luca, and their golden retriever Daisy.