Alan Opie is represented by Rayfield Allied worldwide.

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Alan Opie


  • That master of a thousand characters, Alan Opie
    Musical Opinion
  • 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
  • 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 and Carnegie Hall; Britten’s War Requiem in Washington, Vaughan Williams’ Sea Symphony in Los Angeles, Elgar’s The Kingdom with the Halle Orchestra and 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 both the London Philharmonic under Vladimir Jurowski and Accademia di Santa Cecilia under Sir Antonio Pappano. He returned to Welsh National Opera (La Traviata), performed Elgar’s Oratorio King Olav with the Bergen Philharmonic under Sir Andrew Davis with a recording for Chandos, as well as Peter Grimes with San Francisco Symphony.

    Alan Opie starts off the 14/15 season with his return to Metropolitan Opera (Death of Klinghoffer and Merry Widow), performs Belshazzar’s Feast with the Colorado Symphony Orchestra and Dream of Gerontius with the Royal Scottish National Orchestra.

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

    • Klinghoffer
      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 Klinghoffers do come off sympathetically, with Leon (a superb Alan Opie) rising from his wheelchair at one point to angrily rebuke the kidnappers.
      Frank Scheck, New York Post
      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
    • La Traviata
      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
    • The Beauty Stone
      Chandos CHAN10794(2)

      …the luxurious richness of Alan Opie’s nuanced baritone. […] his clearly relished, magnificently sung portrayal is what, more than anything, brings this set alive.
      Graham Rogers, International Record Review
      As prime mover of the action, Alan Opie revels in his Faustian role as the Devil, appearing in various guises, his every word ringing out in gleeful tones.
      Adrian Edwards, Gramophone Magazine
    • Peter Grimes
      Accademia Nazionale di Santa Cecilia (October 2013)

      There were memorable performances from... Alan Opie.
      Luigi Bellingardi, Opera Magazine
    • Peter Grimes
      London Philharmonic Orchestra (September 2013)

      Alan Opie’s Balstrode is wonderfully seasoned and laconic.
      Andrew Clements, The Guardian *****
      Alan Opie’s experienced Balstrode had depth.
      John Allison, The Telegraph ****
      Alan Opie’s Balstrode personified the old sea dog who had seen all, known all.
      Hilary Finch, The Times ****
    • War Requiem, Royal Philharmonic Orchestra
      Royal Festival Hall

      He was partnered in these grief-filled Wilfred Owen settings by the ageless Alan Opie, somber of mood and rich of timbre.
      Mark Valencia, Classical Source
    • Merry Widow, Philharmonia Orchestra
      Royal Festival Hall

      Alan Opie plays a robust Baron Zeta.
      Hilary Finch, The Times
      ...a stalwart performance from Alan Opie.
      Martin Kettle, The Guardian
      The excellent Alan Opie as Baron Zeta (who one wished had had more to sing)...
      Edward Seckerson, The Arts Desk
    • Gianni Schicchi
      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,
      the splendid Schicchi of Alan Opie, whose commanding presence, convinced both in sly characterisation and his sonorous baritone; one never doubted the venal Donati clan had little chance against his scheming.
      John E de Wald, Opera Britannia
      Alan Opie is a charismatic Schicchi, a notable assumption…Opie ensures that Schicchi’s final speech (to the audience) gets him off the hook. No jury would convict!
      Colin Anderson,
      there’s plenty of comic life in a cast dominated by Alan Opie’s worldly wise Schicchi
      Richard Morrison, The Times
      What distinguished this cast from many others was the thoroughly Italian, highly-charged atmosphere it created, crystallised by the appearance of Alan Opie’s supreme Schicchi. Oozing street cred, his expression alone showed that this would be a routine job for him. So it proved. While members of the Donati family bundled the body in and out of cupboards, he calmly called the shots, his baritone in fine fettle.
      Martin Dreyer, Opera
    • Delius: A Mass of Life
      Naxos Recording

      His soloists are outstanding…but the star is Alan Opie, whose lyrical singing is wonderful.
      Hugh Canning , The Sunday Times
      Alan Opie, who has the lion’s share of the solo music in the work, is almost Wotan-like in his performances. From his first Nietzschean dance he is majestic and brings out of the score that vibrant, heady, Teutonic contemporaneity with which Delius had clearly become enthralled at this point in his career. Opie’s singing of what s effectively the role of Zarathustra has immense authority and his impressive range (up to high G) is ideal for Delius’ onerous vocal demands.
      Jeremy Dibble, Gramophone
      The baritone soloist, to all intents and purposes the voice of the philosopher in this work, is Cornishman Alan Opie – ‘a legend’, as Hill describes him, and a veteran of that 2009 centenary performance. Back at the session, he is unstintingly ardent in all the strenuous demands of this large and challenging role.
      David Threasher, Gramophone
      Any performance of A Mass of Life stands or falls by its soloists, and in particular the baritone, who embodies Zarathustra and thus Nietzsche himself. The name Alan Opie is a guarantee of quality, and so turns out to be. His assumption of the role is calm and sober, though not at all lacking in passion, and with great nobility of utterance when required. He is on top vocal form in this taxing music, with even a certain tenor-like quality - in the fifth movement of the first part for example - and a ringing top G minutes before the close. He is very impressive indeed in the soliloquies near the beginning of Part 2, and without a hint of excess, even managing to minimize the occasional hint of bombast in the music; this admirable singer convinces more than any of his rivals...The performance of the Mass is superbly paced by Hill, and Opie is magnificent.
      William Hedley, International Record Review
    • The Death of Klinghoffer
      English National Opera, Spring 2012

      All of the solo roles are taken memorably too...especially Alan Opie as Leon Klinghoffer himself, who sings his final number, the Aria of the Falling Body, which Adams calls a gymnopédie, with devastating simplicity.
      Andrew Clements, The Guardian
      The staging is often dark and indistinct despite brilliant moments: one was the choreographed depiction of the dead Klinghoffer and his wheelchair falling to the ocean bed as his ghostly double (movingly performed by Alan Opie) sings his "Aria of the Falling Body". A top ensemble cast deserves high praise
      Fiona Maddocks, The Observer
      the musical performance is compelling. Alan Opie is a believable, human Klinghoffer
      Mark Swed, Los Angeles Times
      The scene in which Klinghoffer is murdered ratchets up the tension to an almost unbearable degree. Alan Opie’s singing of the consequent Aria of the Falling Body has a surreal poignancy.
      George Hall, The Stage
    • Cunning Little Vixen: New York Philharmonic
      (June 2011)

      The cast, singing Norman Tucker’s English translation of Janacek’s own Czech libretto, is excellent...there was no problem making out the words of the robust baritone Alan Opie as the Forester, who brought out the character’s internal conflicts...The lucky audience on Wednesday gave everyone involved a cheering ovation.
      New York Times
    • Rigoletto, Opera Co. Philadelphia
      (October 2007)

      Cornish baritone Alan Opie is as convincing as any Rigoletto I’ve ever seen, and my experiences go back to the days of Leonard Warren, Robert Merrill and Cornell MacNeil. Opie’s singing is lovely, although his voice does not have their lush sound – but who does, nowadays. Opie surpasses them in creating a human being with whom we empathize. His devotion to his daughter, his heartbreak when she’s seduced, and his desire for vengeance are totally believable.
      The Opera Critic
  • Alan Opie Opera Repertoire

    • Outis (Outis)
    • For You (Charles Frieth)
    • Benvenuto Cellini (Fieramosca)
    • Damnation of Faust (Mephistopheles)
    • Candide (Pangloss)
    • The Mask of Orpheus (Aristeus I, Man)
    • 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
    • Dr Faust (Faust)
    • Il Maestro di Capella (Il Maestro)
    • Ulisse (Ulisse)
    • Maria Stuarda (Cecil)
    • Don Pasquale (Malatesta)
    • Lucia di Lammermoor (Enrico)
    • La Fille du Régiment (Sulpice)
    • The Beggar’s Opera (Peachum)
    • HMS Pinafore (Captain Corcoran)
    • Anna Karenina (Stiva)
    • Plump Jack (Falstaff)
    • The Wandering Scholar (Louis)
    • Die Königskinder (Der Spielmann)
    • Hansel & Gretel (Father)
    • Cunning Little Vixen (Forester)
    • Makropoulos Case (Kolenaty)
    • Hary Janos (Hary Janos)
    • I Pagliacci (Tonio)
    • Don Quichotte (Sancho Panza)
    • Sophie’s Choice (The Doctor)
    • Die Zauberflöte (Papageno)
    • Le Nozze di Figaro (Figaro/Count)
    • Cosi fan Tutte (Don Alfonso)
    • La Clemenza di Tito (Publius)
    • La vie Parisienne (Baron)
    • Paradise Lost (Messias)
    • The Carmelites (Marquis de la Force)
    • Betrothal in a Monastery (Don Carlos)
    • War and Peace (Napoleon)
    • La Boheme (Marcello)
    • Madame Butterfly (Sharpless)
    • Gianni Schicchi (Gianni Schicchi)
    • Tosca (Scarpia)
    • Turandot (Ping)
    • South Pacific (Emile de Becque)
    • Il Barbiere di Siviglia (Figaro)
    • Count Ory (Raimbaud)
    • Cenerentola (Dandini)
    • Italian Girl in Algiers (Taddeo)
    • Mose (Faraone)
    • Madame Mao (Chairman Mao)
    • The Nose (Kovalyov)
    • The Bartered Bride (Krusina)
    • The Kiss (Tomes)
    • The Secret (Kalina)
    • Die Fledermaus (Falke/Eisenstein)
    • Der Rosenkavalier (Faninal)
    • Ariadne auf Naxos (Harlequin)
    • Renard (Renard)
    • Oedipus Rex (Creon/Messenger)
    • The Knot Garden (Mangus)
    • Hugh the Drover (John)
    • Pilgrim’s Progress (Pilgrim)
    • 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)
    • Die Meistersinger (Beckmesser)
    • Parsifal (Amfortas)
    • The Bear (Smirnov)
    • Troilus & Cressida (Diomede)
    • Aufstieg und Fall der Stadt Mahagonny (Trinity Moses)
    • Es war einmal (Kaspar)

    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
    • Requiem
    • Samson Daphne & Apollo
    • Neapolitan Songs
    • Kindertotenlieder
    • Lieder eines Fahrenden Gesellen
    • Das Klagende Lied Rückert Lieder Symphony No.8
    • Elijah
    • Martin's Lie (The Stranger)
    • Carmina Burana
    • Gurrelieder (Bauer)
    • Pulcinella
    • Hiawatha
    • The vision of St. Augustine
    • Dona Nobis Pacem Sea Symphony Sancta Civitas
    • Belshazzar’s Feast
  • Photos