Barnaby Rea is represented by Rayfield Allied worldwide.

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Barnaby Rea

Bass

  • Barnaby Rea’s full-voiced Collatinus is outstanding.
    Richard Morrison, The Times
  • Barnaby Rea’s Second Priest boasts a commanding presence and a rich bass voice.
    Andrew Clark, The Financial Times
  • The surprise ace in the pack of Bohemians is Barnaby Rea’s Colline.
    Neil Fisher, The Times
  • Barnaby Rea had real stage presence and imperious dignity.
    Claire Seymour, Opera Today
  • Barnaby Rea is a British bass and Harewood Artist at English National Opera.  Highlights of the current season include Lodovico Otello, Colline La Bohème (English National Opera), Zinger Intermezzo (Garsington Opera), Bob Beckett HMS Pinafore (Edinburgh International Festival), Mother The Seven Deadly Sins with the RTÉ Concert Orchestra, a performance of music by Weill with the Continuum Ensemble at Kings Place, and Nielsen’s Hymnus Amoris as part of the Three Choirs Festival.

    Recent operatic performances 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, and Rocco I Gioielli della Madonna (Opera Holland Park).

    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, 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 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