Barnaby Rea is represented by Rayfield Allied worldwide.

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Barnaby Rea

Bass

  • Barnaby Rea’s Second Priest boasts a commanding presence and a rich bass voice.
    Andrew Clark, The Financial Times
  • Barnaby Rea had real stage presence and imperious dignity.
    Claire Seymour, Opera Today
  • Barnaby Rea’s full-voiced Collatinus is outstanding.
    Richard Morrison, The Times
  • The surprise ace in the pack of Bohemians is Barnaby Rea’s Colline.
    Neil Fisher, The Times
  • Barnaby Rea is a British bass and Harewood Artist at English National Opera.  For the 16/17 season Barnaby joins the ensemble at Oper Frankfurt where productions will include Falstaff, The Rake’s Progress, Eugene Onegin, and a double bill of La Damoiselle Élue and Jean d’Arc


    Recent and future highlights include Fabrizio Vingradito La Gazza Ladra (Oper Frankfurt), Basilio The Barber of Seville, Sparafucile Rigoletto (English National Opera), Alidoro La Cenerentola (Opera Holland Park), Banquo Macbeth (Iford Opera), Verdi’s Requiem with Barry Wordsworth at the Adrian Boult Hall,  and the role of Hobson in a concert performance of Peter Grimes with the Bergen Philharmonic Orchestra under Edward Gardiner. 

    Other operatic highlights include Colline La Bohème (Opera North), Masetto Don Giovanni, Mother Seven Deadly Sins (Scottish Opera), Nourabad The Pearl Fishers, Ceprano (cover Sparafucile) Rigoletto, Second Priest / Second Armed Man The Magic Flute, Ensemble Jakob Lenz (English National Opera), Zaretsky and Captain Eugene Onegin, Bonze Madam Butterfly, Rocco I Gioielli della Madonna (Opera Holland Park), Mother The Seven Deadly Sins with the RTÉ Concert Orchestra, and a live recording of HMS Pinafore (Edinburgh International Festival) as Bob Beckett under Richard Egarr.

    Barnaby trained at the National Opera Studio where he was supported by Scottish Opera and a Sybil Tutton Award administered by the Musicians Benevolent and before that graduated from the Guildhall School of Music and Drama where he studied on the highly acclaimed opera course and was generously supported by the Countess of Munster Musical Trust, the Musicians Benevolent Fund, the Wingate foundation, the Hope Chest, Serena Fenwick, Towergate and the Worshipful Company of Gold & Silver Wyre Drawers. He continues to study under the guidance of John Evans.

    • La Cenerentola (Alidoro)
      Opera Holland Park, London (July 2016)

      Barnaby Rea’s sonorous Alidoro, reasonably fluent in his bravura aria, cultivated a conspiratorial rapport with the audience.
      Hugh Canning, Opera Magazine
      Barnaby Rea’s Alidoro was solemn and majestic, deploying an expansive bass that soared over the orchestra. The little gleam in Rea’s eye made him just that little more human.
      Dominic Lowe, bachtrack.com
      Rea has a good stage presence and a sonorous bass.
      Howard Shepherdson, Limelight Magazine
      Barnaby Rea is an imposing Alidoro.
      Mark Valencia, whatsonstage.com
      Barnaby Rea proves an excellent singer and actor as Alidoro.
      Sam Smith, musicomh.com
      Barnaby Rea used his resonant bass well as the philosopher Alidore.
      Claire Seymour, Opera Today
      Barnaby Rea’s grand bass gives him weight and gravitas as Alidoro.
      The Stage, George Hall
      Barnaby Rea is a sonorous Alidoro.
      Clare Colvin, The Express
      Rea sang Alidoro with quiet dignity and strength, rising above the chaos he lets loose. Rea delighted us with his big Act One solo, singing with great warmth and charm.
      Robert Hugill, planethugill.com
      Alidoro, splendidly sung and portrayed here by Barnaby Rea, who delivered a very stylish soliloquy Là del ciel nell’arcano profondo.
      Mark Ronan, markronan.com
    • Macbeth (Banquo), Iford Arts Festival
      The Cloister (June 2016)

      Barnaby Rea’s Banquo was most impressive: his is a resonant bass but flexible too and tellingly used here.
      Opera Magazine
    • The Barber of Seville (Don Basilio), English National Opera
      London Coliseum (September 2015)

      …an unctuously sonorous if unusually young Basilio from Barnaby Rea.
      Tim Ashley, The Guardian
      Barnaby Rea’s slippery Don Basilio…slot[s] into place with ease.
      Geoff Brown, The Times
      Bass Barnaby Rea makes a larger-than-life Basilio.
      George Hall, The Stage
      Barnaby Rea’s excellent Basilio went for his Calumny aria with a will, and continued in the sane baleful vein as a good foil for Dr Bartolo.
      Peter Reed, Opera
      Barbaby Rea, as Basilio, gave a beautiful account of ‘La Calunnia’.
      Colin Clarke, seenandheard-international.com
      Barnaby Rea’s slimy Don Basilio…acted as a wonderful foil to Andrew Shore’s crusty, crotchety Dr Bartolo.
      Mark Pullinger, bachtrack.com
    • Intermezzo (Singer), Garsington Opera
      Wormsley Estate (June 2015)

      Barnaby Rea’s sonorous Kammersänger [is] particularly worthy of praise.
      Hugo Shirley, Opera
    • La Bohème (Colline), English National Opera
      London Coliseum (November 2014)

      …and the surprise ace in the pack of Bohemians is Barnaby Rea’s Colline.
      Neil Fisher, The Times
      Colline and Schaunard (Barnaby Rea and George Humphreys) exude youthful raffishness.
      Michael Church, The Independent
      I have often recalled with pleasure Barnaby Rea’s vivid Colline, a part normally done well but here done very well.
      Russ McDonald, Opera
      There was no weak link and George Humphreys (Schaunard), Barnaby Rea (Colline) and George von Bergen (Marcello) were a very talented trio of personable youthful bohemians – both as singers and committed actors.
      Jim Pritchard, Seen and Heard International
      Barnaby Rea‘s deep Verdian bass, whose splendid voice was always deployed with subtlety, delicately coloured Colline’s lovely Act lV “Coat” aria with longing and regret.
      Geoffrey Mogridge, Opera Britannia
      Barnaby Rea delivers Colline’s arietta about selling his beloved overcoat with real subtlety and sweetness.
      David Nice, theartsdesk.com
    • Otello (Ludovico), English National Opera
      London Coliseum (Semptember 2014)

      There was strength in depth in ENO’s casting…Barnaby Rea a dignified, sturdy Lodovico.
      Mark Pullinger, bachtrack.com
    • The Pearl Fishers (Nourabad), English National Opera
      London Coliseum (June 2014)

      And the young bass, Barnaby Rea, a new addition to ENO's young artists programme, impressed as nasty high priest Nourabad.
      Neil Fisher, The Times
      Also on the plus side are Barnaby Rea, a powerful presence as Nourabad.
      John Allison, The Telegraph
      Barnaby Rea was a powerful Nourabad.
      Peter Reed, Opera Magazine
      Barnaby Rea was a full voiced Nourabad.
      Claire Seymour, Opera Today
      Barnaby Rea’s Nourabad deserves a special mention – it’s not a role with a huge amount to do, but he was close to stealing the show when he got a chance.
      Kimon Daltas, theartsdesk.com
      Barnaby Rea as Nourabad has little to sing but was imposing in all he did.
      Jim Pritchard, Seen and Heard International
    • Don Giovanni (Masetto), Scottish Opera
      Theatre Royal, Glasgow (October 2013)

      Barnaby Rea’s borderline abusive Masetto is neatly sketched in.
      George Hall, The Guardian
      Barnaby Rea’s forceful Masetto projected more character.
      Rupert Christiansen, The Telegraph
      Barnaby Rea’s lusty Masetto is well cast.
      Neil Fisher, The Times
      Barnaby Rea can be forgiven a slightly stiff Masetto thanks to his delightful singing.
      Neil Jones, Opera Now
      Anna Devin as easily seduced peasant Zerlina and Barnaby Rea as her fiance Masetto, add fine voices and strong performances.
      Thom Dibdin, The Stage
      Barnaby Rea’s Masetto was cheerful on the ear.
      Kelvin Holdsworth, Opera Britannia
    • Madam Butterfly (Bonze) / I Gioielli della Madonna (Rocco)
      Opera Holland Park, London (July 2013)

      And it’s clear that the show’s French-Japanese movement-director Namiko Gahier-Ogawa has put everyone on stage through some rigorous training in the language of Japanese theatrical gesture: we feel this most intensely with the characterisation of Cio-Cio San’s family, with Barnaby Rea’s magnificently forbidding Bonze, and with the characterisation of Cio-Cio San herself
      Michael Church, The Independent
      Barnaby Rea's Bonze was something incredible and distinctly memorable for such a small appearance; this is a singer whose career must be watched for his booming voice and clarion tone!
      Fritz Curzon, Musical Criticism
      Barnaby Rea has an impressive bass voice that can fill the marquee...
      Gavin Dixon, Opera Britannia
      ...and there were excellent contributions from...Barnaby Rea.
      Miranda Jackson, Opera Britannia
      Rafaello's leading henchmen were Robert Burt and Barnaby Rea... All were admirable, giving strongly characterised performances and creating a superb ensemble.
      Robert Hugill, Planet Hugill
    • Our Town (Ned Rorem), June 2012
      Guildhall School of Music and Drama

      Barnaby Rea was a fine, sonorous Dr. Gibbs
      Neil Fisher, The Times
    • A Midsummer Night’s Dream, February 2012
      Guildhall School of Music and Drama

      Barnaby Rea is an outstanding Bottom, surely a bass going places.
      Neil Fisher, The Times
      Barnaby Rea was an entertaining Bottom with neat comic timing and a warm bass-baritone. It’s a gift of a role and the audience lapped up his antics.
      Mark Pullinger, Opera Britannia
      Barnaby Rea is splendid as Bottom: his vocal control, musicality and acting ability (including body language in his role as the donkey) are very impressive.
      Agnes Kory, Musical Criticism
  • Photos

    • Photographer credit: Robert Workman
      Photographer credit: Robert Workman
    • Photographer credit: Robert Workman
      Photographer credit: Robert Workman
    • Photographer credit: Robert Workman
      Photographer credit: Robert Workman
    • Photographer credit: Robert Workman
      Photographer credit: Robert Workman