David Stout

Baritone

"The baritone David Stout, so impressive in Scottish Opera’s The Burning Fiery Furnace, was commanding and gorgeously lyrical"

The Times

"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."

Bachtrack

"David Stout’s Figaro was assertive, quick-witted and warmly sung, an impressive role debut."

Opera

"David Stout is a formidable Sancho Panza"

The Guardian

"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."

The Times

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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.

In the 2021-21 season he sings Bartolo Il barbiere di Siviglia (Den Norske Opera) and Ford Falstaff (Grange Park Opera). In the 2019-20 season he made his role debut as Henry Kissinger Nixon in China (Scottish Opera) and sang Harašta The Cunning Little Vixen (Welsh National Opera).

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Nixon in China (Henry Kissinger)

Scottish Opera, February 2020

The central roles are all impressively taken… Julia Sporsén’s infinitely touching Pat Nixon, David Stout’s canny Kissinger…

George Hall, The Stage, 19 February 2020

David Stout is blustery and self-regarding as the shady Henry Kissinger

Rowena Smith, The Guardian, 19 February 2020

There is cast-iron evenness among the key players. David Stout’s frenetic portrayal of the buffa-style Kissinger makes him a golden theatrical foil to the stoical composure of Nicholas Lester’s Chou.

Ken Walton, The Scotsman, 21 February 2020

The Cunning Little Vixen (Harasta)

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

Don Quichotte (Sancho Panza)

Bregenzer Festspiele, July 2019

In an opera in which both leads are bass-baritones, it isn’t easy to find a Sancho to complement his master, but Bregenz finds one. Earthily direct, David Stout is another class act, particularly when asked to play devil’s advocate, or to challenge mockery of the knight as an outmoded dinosaur. Besides singing a difficult role with mobile ease, Stout mines Henri Cain’s text splendidly

Opera Magazine, March 2021 (DVD review)

Gábor Bretz is a rich, soulful Don Quichotte and he’s matched for depth and warmth of baritone timbre by David Stout's Sancho

OperaJournal, 5 October 2020 (DVD review)

David Stout was just the sort of baritone needed as Sancho, combining a full, oaky voice with a the buffo charm of a character actor. It falls to Quichotte’s affable sidekick in the end to defend his master’s dreaming idealism from the cruel mockery of the crowd: “Riez, allez, riez” was a passionate rebuke in Stout’s rendition, tearing off his wig as he turned to berate the audience over the swelling of the orchestra.

Eric Simpson, OperaWire, 29 July 2019

Prokofiev's War and Peace (Dolokhov/Denisov/Napoleon/Raevsky)

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

Mascagni's Silvano (Renzo)

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

Prokofiev's War and Peace (Dolokhov/Napoleon)

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

Don Giovanni (Leporello)

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

La bohème (Marcello)

Scottish Opera, May 2017

David Stout, as an especially pivotal Marcello, was in magnificent voice

David Smythe, Bachtrack, May 2017

Le nozze di Figaro and Figaro gets a Divorce (Figaro)

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

Donizetti’s Le Duc d’Albe (Sandoval)

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

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