"David Stout's immensely attractive Falstaff was nicely contrasted with his arrogant Paolo Albiani."
"David Stout’s Figaro was assertive, quick-witted and warmly sung, an impressive role debut."
"David Stout is a formidable Sancho Panza"
"I was moved by David Stout as Massenet’s hapless manager forced into the role of Sancho. His final lament for Quichotte was the best part of the evening."
David Stout has rapidly established himself as one of the UK’s most versatile baritones. His repertoire ranges widely, encompassing early music with period instruments, Mozart, Verdi, Puccini, Britten, the bel canto repertoire and contemporary and twentieth-century works. He has earned a formidable reputation for his stage charisma, refined acting and presence on stage, as well as for being a great colleague whom other singers, conductors and directors are keen to work with again and again.
Recent highlights include a critically acclaimed Posa Don Carlo (Grange Park Opera); Donner Das Rheingold (with Sir Mark Elder and the Hallé); Marcello La Bohème (Scottish Opera); Gratiano The Merchant of Venice (Welsh National Opera); the title roles of Le nozze di Figaro and Figaro Gets A Divorce (Welsh National Opera); Count Douglas in Mascagni’s Guglielmo Ratcliff (Wexford Festival); the title role of Le nozze di Figaro and Fritz Kothner Die Meistersinger (both English National Opera); Sandoval Le Duc d’Albe, Paolo Simon Boccanegra and the title role of Falstaff (all with Sir Mark Elder and the Hallé); an acclaimed Sancho Pança Don Quichotte (Grange Park Opera); Bach St John Passion with the Aurora Orchestra at King’s Place; Oromazes in Rameau’s Zaïs with the Orchestra of the Age of Enlightenment and Aeneas Dido and Aeneas with the English Concert at the Bristol Old Vic.
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Harasta in Janáček's The Cunning Little Vixen
Welsh National Opera, October 2019
...David Stout’s swaggering Poacher.
Rebecca Franks, The Times, 7 October 2019
The ‘flatter’ characters though, of course they offer less scope for individualisation or emotional/psychological depth, were well interpreted, notably by ... David Stout as an attractively transgressive Poacher...
Glyn Pursglove, 8 October 2019
There was much to enjoy too from Peter van Hulle’s lonely Schoolmaster, Wojtek Gierlach’s dignified Parson and David Stout’s unsentimental poacher.
David Truslove, Opera Today, 11 October 2019
Dolokhov, Denisov, Napoleon and Raevsky in Prokofiev's War and Peace
Welsh National Opera at Royal Opera House, July 2019
Baritone David Stout, so good as both Dolokhov and Denisov in Part One, makes a charismatic impression as Napoleon during and after the Battle of Borodino. Indeed, if you’re looking for hooks on which to hang praise he and Bailey are joint gold medal winners.
Mark Valencia, Bachtrack, 24 July 2019
David Stout truly excelled, in terms of both characterisation and musicianship, as Dolokhov, Denisov, Raevsky and as a steel-backed Napoleon, his voice bursting with pride and defiance in the latter incarnation, but always appealing.
Claire Seymour, Opera Today, 24 July 2019
It is clearly impossible to go into each and every soloist given the roster of singers. But it would be unfair not to admire David Stout’s fine, rich voice in the part of Dolukov (and Denisov, and Napoleon, and Raevsky). Whichever hat he was wearing, he excelled.
Colin Clark, Seen and Heard International, 24 July 2019
David Stout's four roles are the combined stand-out of the evening: his seasoned-rake Dolokhov...
David Nice, The Arts Desk, 24 July 2019
Renzo in Mascagni's Silvano
Scottish Opera, April 2019
The baritone David Stout, so impressive in Scottish Opera’s The Burning Fiery Furnace, was commanding and gorgeously lyrical
Simon Thompson, The Times, 15 April 2019
David Stout’s robust, handsome baritone was ideal for Renzo
Andrew Clark, Opera magazine, June 2019
David Stout’s Renzo oozed selfless malice...
Ken Walton, The Scotsman, 19 April 2019
Dolokhov/Napoleon in Prokofiev's War and Peace
Welsh National Opera, September 2018
A long roster of distinguished singers adds class in, for most of them, multiple roles. David Stout makes a charismatic Napoleon...
Mark Valencia, WhatsOnStage, September 2018
Many members of the cast had to sing more than one role... David Stout was called on to embody Dolokhov, Denisov, Raevsky and Napoleon. All made a favourable impression in this operatic multi-tasking. Perhaps predictably, David Stout and Jurgita Adamonytė were particularly effective in their several roles.
Glyn Pursglove, Seen and Heard International, September 2018
the arrogant, meticulous, over-controlling Napoleon (the excellent David Stout)
Stephen Walsh, The Arts Desk, September 2018
The baritone David Stout made an excellent impression in the roles of Napoleon, Denisov, Dolokhov, and Raevsky, giving expressive and well-drawn portraits of the characters, underpinned by the beautiful timbre of his voice.
Alan Neilson, Operawire, September 2018
Leporello in Mozart's Don Giovanni
Welsh National Opera, March 2018
From a vocal perspective there are many other felicities, not least the Donna Elvira of Elizabeth Watts and the Leporello of David Stout... Stout’s Leporello is in the same class: communicative, consistent and compelling. His character is the one who should really develop a rapport with the audience and he certainly does so
Alexander Campbell, Classical Source, March 2018
Marcello in La bohème
Scottish Opera, May 2017
David Stout, as an especially pivotal Marcello, was in magnificent voice
David Smythe, Bachtrack, May 2017
Title roles of Le nozze di Figaro and Figaro gets a Divorce
Welsh National Opera, February 2016
David Stout is an outstanding, resonant bass Figaro, terrific in “Non più andrai” – one of the best I can remember – and a robust, not too violent, foil to Mark Stone’s Almaviva
Stephen Walsh, The Arts Desk
The cast is strong, especially on the male side, with Mark Stone as the Count and David Stout as Figaro.
Richard Fairman, Financial Times
Anna Devin and David Stout sang freshly and cleanly as Susanna and Figaro
Rupert Christiansen, Telegraph
David Stout’s Figaro bustles in through the audience mid-overture, a touch of pantomime that sets the tone. It’s no bad thing to be reminded that Figaro is a comedy... The principals play off each other marvellously. Stout’s dark, flexible voice makes an effective foil for the paler tones of Mark Stone’s Count...
Richard Bratby, Spectator
The casts were supremely capable... David Stout’s Figaro was triumphant in Marriage and cynically depressed in Divorce...
Steph Power, Independent
David Stout (Figaro) and Anna Devin (Susanna) both gave very strong performances of great character and stamina, the former an authoritative stage presence with a pleasingly agile voice.
Rohan Shotton, Bachtrack
It doesn't hurt that soon-to-be-weds Figaro and Susanna are sung and acted with wit, grace and musical beauty by David Stout and Anna Devin. I have rarely enjoyed these characters more: they sing as one, yet a hundred connecting currents bring their union to life.
Mark Valencia, WhatsOnStage
Sandoval in Donizetti’s Le Duc d’Albe
cond. Sir Mark Elder [CD: Opera Rara]
The smaller roles are all strongly cast, with David Stout as a rather nasty Spanish captain, Sandoval
Robert Hugill, Planet Hugill
Appearing in both acts, the captain of the Spanish garrison, Sandoval, is portrayed with fittingly martial fortitude by bronze-timbred baritone David Stout, a former head chorister at Westminster Abbey. There is smarmy self-satisfaction in his delivery of ‘Par Saint-Jacques, messieurs, on ne boit qu’à Bruxelles,’ and he chants ‘Voyez donc cette belle’ repulsively—perfectly in character, that is. His mettlesome study of Sandoval continues to gain stature in Act Two.
Joseph Newsome , Voix des Arts