Alan Opie


"It was Georgio Germont, with Alan Opie’s interpretation as reliable and as musical as one might expect, who rang truest, and ultimately his sympathy for Violetta and guilt at his earlier intervention was palpable"

Rian Evans, Opera Magazine

"Effortless top notes and scrupulous mastery of style"

Sunday Times

"That master of a thousand characters, Alan Opie"

Musical Opinion

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Baritone Alan Opie is a regular guest at the Metropolitan Opera New York, La Scala, Wiener Staatsoper, Bayerische Staatsoper Munich, Deutsche Oper Berlin, Santa Fe Festival, Glyndebourne Festival Opera, English National Opera and Royal Opera House Covent Garden. He has also sung at the Bayreuth Festival singing Beckmesser – a role also repeated in Berlin, Amsterdam, Munich, Vienna and Turin. At ENO he was nominated for the ‘Outstanding Achievement in Opera’ Olivier Award for his performance of Falstaff.

His extensive concert work has included performances of Mendelssohn’s Elijah in San Francisco and Dallas; Walton’s Belshazzar’s Feast in Dallas, Denver and Carnegie Hall; Britten’s War Requiem in Washington, Vaughan Williams’ Sea Symphony in Los Angeles, Elgar’s The Kingdom with the Halle Orchestra; Elgar’s Dream of Gerontius with the Royal Scottish National Symphony; King Olav with the Bergen Symphony Orchestra and the Apostles at the Proms.

Alan Opie has recorded for CBS, EMI, Hyperion, Chandos, and Decca. Releases include “Alan Opie Sings Bel Canto Arias”, Britten’s Gloriana, Albert Herring, Peter Grimes for which he received a Grammy Award, Death in Venice and The Rape of Lucretia; the title role in Dallapiccola’s Ulisse; Tonio in I Pagliacci; Enrico in Lucia di Lammermoor; Smirnov in Walton’s The Bear, Carlo in Ernani, di Luna in Il Trovatore, the title role in Il Barbiere di Siviglia and Beckmesser in Die Meistersinger von Nurnberg under Sir Georg Solti for which he received his second Grammy award.

Recent performances include Balstrode with the London Philharmonic under Vladimir Jurowski, Accademia di Santa Cecilia under Sir Antonio Pappano and San Francisco under Michael Tilson Thomas.

Alan Opie sang the title role in The Death of Klinghoffer at the Metropolitan Opera and recently returned there to sing Count Zeta The Merry Widow and Frank Die Fledermaus.

He opens the 2016/17 season at the Metropolitan Opera with Gamekeeper Russalka and Arbace Idomeneo. Other engagements include a concert appearance with the Boston Symphony Orchestra.

Alan Opie received an OBE in the Queen’s birthday honours in 2013.

This biography is for information only and should not be reproduced.

Merry Widow, Metropolitan Opera

Metropolitan Opera (April 2015)

Alan Opie acted with class.

Zachary Woolfe, New York Times

Bass Alan Opie, as Baron Mirko Zeta, led the supporting characters. What little singing he had was effective, but his quick delivery of his lines kept the pace going.

George Grella, New York Classical Review

The Death of Klinghoffer, Metropolitan Opera

Metropolitan Opera (October 2014)

The baritone Alan Opie sings Leon with an elegant blend of poignancy and feistiness.

Anthony Tommasini, New York Times

The part of Leon was created by Sanford Sylvan, and is being sung at the Met by Alan Opie, whose baritone is much darker and rougher than Sylvan’s gentle, silky voice. Opie is devastating in the role. His voice carries gravitas and meaning, and he projects a sound that is very much like that of an old man singing. He is earthy, real, and from the moment he is first heard in Act II, bitterly standing down the terrorists for their cowardice, explosive.

George Grella, New York Classical Review

The eloquent baritone Alan Opie did have a great moment that presumably went a long way to silencing the evening’s protesters.

Manuela Hoelterhoff, Bloomberg

Peter Grimes, London Philharmonic Orchestra

London Philharmonic Orchestra (September 2013)

Alan Opie’s Balstrode personified the old sea dog who had seen all, known all.

Hilary Finch, The Times ****

Gianni Schicchi, Opera Holland Park

Opera Holland Park

Alan Opie gives a towering, gleeful performance in the title role.

Tim Ashley, The Guardian

Alan Opie is a world-class Schicchi.

Warwick Thompson, Metro

Alan Opie, needless to say, stole the show as Schicchi himself, dominating the action from his Jean Gabin-like arrival to the triumphant glee of his cackling farewell.

Mark Valencia,

There’s plenty of comic life in a cast dominated by Alan Opie’s worldly wise Schicchi.

Richard Morrison, The Times

La Traviata, Welsh National Opera

Welsh National Opera (February 2014)

It was Alan Opie, in the role of Germont père, who showed suppleness: his words were given meaning and his voice was full of feeling.

Rian Evans, The Guardian

It was Georgio Germont, with Alan Opie’s interpretation as reliable and as musical as one might expect, who rang truest, and ultimately his sympathy for Violetta and guilt at his earlier intervention was palpable.

Rian Evans, Opera Magazine

Alan Opie Concert Repertoire


Choral Fantasia
Symphony No. 9


Early Songs


L'enfance du Christ


Ein Deutches Requiem


War Requiem
Canticle IV 'The Journey of the Magi'


Beloved Son


Mass of Life Idyll Sea Drift


The Apostles
The Dream of Gerontius
The Kingdom
King Olaf




Samson Daphne & Apollo


Neapolitan Songs


Lieder eines Fahrenden Gesellen
Das Klagende Lied Rückert Lieder Symphony No.8




Martin's Lie (The Stranger)


Carmina Burana


Gurrelieder (Bauer)






The vision of St. Augustine


Dona Nobis Pacem Sea Symphony Sancta Civitas


Belshazzar’s Feast

Alan Opie Opera Repertoire

BERIO Outis (Outis)
BERKELEY For You (Charles Frieth)
BERLIOZ Benvenuto Cellini (Fieramosca)
Damnation of Faust (Mephistopheles)
BERNSTEIN Candide (Pangloss)
BIRTWISTLE The Mask of Orpheus (Aristeus I, Man)
BRITTEN Albert Herring (Mr. Gedge)
Billy Budd (Redburn)
Death in Venice (Baritone roles)
Gloriana (Cecil)
Owen Wingrave (Mr. Coyle)
Peter Grimes (Balstrode)
The Rape of Lucretia (Tarquinius/Junius)
War Requiem
BUSONI Dr Faust (Faust)
CIMAROSA Il Maestro di Capella (Il Maestro)
DALLAPICCOLA Ulisse (Ulisse)
DONIZETTI Maria Stuarda (Cecil)
Don Pasquale (Malatesta)
Lucia di Lammermoor (Enrico)
La Fille du Régiment (Sulpice)
GAY The Beggar’s Opera (Peachum)
GILBERT & SULLIVAN HMS Pinafore (Captain Corcoran)
IAIN HAMILTON Anna Karenina (Stiva)
GETTY Plump Jack (Falstaff)
HOLST The Wandering Scholar (Louis)
HUMPERDINK Die Königskinder (Der Spielmann)
Hansel & Gretel (Father)
JANACEK Cunning Little Vixen (Forester)
Makropoulos Case (Kolenaty)
KODALY Hary Janos (Hary Janos)
LEONCAVALLO I Pagliacci (Tonio)
MASSENET Don Quichotte (Sancho Panza)
NICHOLAS MAW Sophie’s Choice (The Doctor)
MOZART Die Zauberflöte (Papageno)
Le Nozze di Figaro (Figaro/Count)
Cosi fan Tutte (Don Alfonso)
La Clemenza di Tito (Publius)
OFFENBACH La vie Parisienne (Baron)
PENDERECKI Paradise Lost (Messias)
POULENC The Carmelites (Marquis de la Force)
PROKOFIEV Betrothal in a Monastery (Don Carlos)
War and Peace (Napoleon)
PUCCINI La Boheme (Marcello)
Madame Butterfly (Sharpless)
Gianni Schicchi (Gianni Schicchi)
Tosca (Scarpia)
Turandot (Ping)
RODGERS South Pacific (Emile de Becque)
ROSSINI Il Barbiere di Siviglia (Figaro)
Count Ory (Raimbaud)
Cenerentola (Dandini)
Italian Girl in Algiers (Taddeo)
Mose (Faraone)
BRIGHT SHENG Madame Mao (Chairman Mao)
SHOSTAKOVICH The Nose (Kovalyov)
SMETANA The Bartered Bride (Krusina)
The Kiss (Tomes)
The Secret (Kalina)
J.STRAUSS Die Fledermaus (Falke/Eisenstein)
R.STRAUSS Der Rosenkavalier (Faninal)
Ariadne auf Naxos (Harlequin)
STRAVINSKY Renard (Renard)
Oedipus Rex (Creon/Messenger)
TIPPETT The Knot Garden (Mangus)
VAUGHAN WILLIAMS Hugh the Drover (John)
Pilgrim’s Progress (Pilgrim)
VERDI Ernani (Ernani)
Falstaff (Falstaff/Ford)
La Forza del Destino (Melitone)
Simon Boccanegra (Paolo)
Luisa Miller (Miller)
Macbeth (Macbeth)
Nabucco (Nabucco) Rigoletto (Rigoletto)
La Traviata (Germont)
WAGNER Die Meistersinger (Beckmesser)
Parsifal (Amfortas)
WALTON The Bear (Smirnov)
Troilus & Cressida (Diomede)
WEILL Aufstieg und Fall der Stadt Mahagonny (Trinity Moses)
ZEMLINSKY Es war einmal (Kaspar)

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