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Conductor
- Mikhail Agrest
- Alexander Briger
- Nicholas Cleobury
- Francesco Corti
- Laurence Cummings
- Elias Grandy
- Marco Guidarini
- Elgar Howarth
- Julia Jones
- Nicholas Kok
- Robert Levin
- Andrea Licata
- Nicholas McGegan
- Andrew Parrott
- David Parry
- Geoffrey Paterson
- Emmanuel Plasson
- Thomas Rösner
- Tobias Ringborg
- Gennady Rozhdestvensky
- Yuri Simonov
- Philipp von Steinaecker
- Pierre-André Valade
- Composer
- Stage director
- Designer
- Movement
- Soprano
- Mezzo-soprano
- Countertenor
- Tenor
- Baritone
- Bass-baritone
- Bass
- Piano
- Harpsichord
- Cello
- Clarinet
- Chamber Ensemble
- Vocal Ensemble
- Baroque Ensemble
Hubert Francis is represented by Rayfield Allied worldwide.
Artist Manager:
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Associate Artist Manager:
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Hubert Francis
Tenor
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Hubert Francis’s sinister Spoletta caught the eye.
Whatsonstage
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UK-based Australian tenor, Hubert (Hugh) Francis, kicks off the 2012-13 Season as Vitek The Macropoulos Case, a role and house debut at Finnish National Opera, followed by a greatly successful tour of Germany and North America with London’s Philharmonia Orchestra as Drum Major Wozzeck under the baton of Esa-Pekka Salonen. He returns to London to bring his sinister Spoletta in Jonathan Kent’s revival of Tosca to the Royal Opera House.
Recent successes include his appearance with Singapore Opera in his debut as Herod Salomé, his return to De Nederlandse Opera for the role of The Bear Handler in The Legend of the Invisible City of Kitezh and the Maiden Fevroniya, and his appearance as the Second Jew Salome at Royal Opera House, Covent Garden. Mr Francis also appeared in Amsterdam as Thibault in a new production of Verdi’s Les Vêpres Siciliennes directed by Christof Loy, a role he repeated at the Grand Théâtre de Genève. In London, he sang Spoletta with Angela Gheorghiu, Jonas Kaufmann and Bryn Terfel, in a production that was committed to DVD.
Mr. Francis studied at Royal Northern College of Music and was a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden 2002-04. Past engagements at Covent Garden include Male Chorus The Rape of Lucretia, Spoletta Tosca, Harlekin Der Kaiser von Atlantis, Trin La Fanciulla del West, Third Jew in David MacVicar’s new production of Salomé conducted by Philippe Jordan, and Loge (cover) Das Rheingold in Keith Warner’s recent Ring under the musical direction of Antonio Pappano.
Recent appearances include the Drum Major for Welsh National Opera in Richard Jones’ award winning production of Wozzeck. Returning to the Royal Opera House, Covent Garden, Mr. Francis appeared as First Croupier The Gambler and as Third Jew Salomé.
International roles include Yannakos in David Pountney’s production of The Greek Passion at the Janáček Theatre in Brno; Shabby Peasant Lady Macbeth of Mtsensk (directed by Paul Curran) for Canadian Opera Company; Terry Bond Playing Away (David Pountney), Ferdinand Karl V (Uwe-Eric Laufenberg) at the Bregenz Festival and Kedril/Hlas From the House of the Dead at Teatro Massimo in Palermo.
Other UK credits include Chekalinsky The Queen of Spades (Alexander Polianichko) with Welsh National Opera; Don Basilio Le nozze di Figaro and Marquis des Grieux The Gambler (André de Ridder) at Grange Park Opera; Ivan The Nose for The Opera Group and Poole Burning Waters at Buxton Festival.
In concert, Mr. Francis sang the role of Junge Diener Elektra with Opera North (Richard Farnes), Florestan Fidelio with The Edinburgh Symphony Orchestra; Beethoven’s Ninth Symphony with the Royal Philharmonic Orchestra; Beethoven’s An die ferne Geliebte, Mahler’s Lieder eines fahrenden Gesellen, Vaughan Williams’ Songs of Travel, Finzi’s A Young Man’s Exhortation, Dvořák’s The Gypsy Songs and ROH2’s highly acclaimed Nitro Project in The Crush Room at Royal Opera House.
Future appearances include Herod at State Opera of South Australia, Goro Madama Butterfly and Gamekeeper Rusalka at the Grand Théâtre de Genève, and further appearances at the Royal Opera House, Covent Garden.
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Photos
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Credit Rob Moore -
Credit Rob Moore -
Jennifer Taylor for The New York Times -
Credit Rob Moore
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