Matthew Brook is represented by Rayfield Allied Worldwide.

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Matthew Brook

Bass-baritone

  • Matthew Brook, who turns anything he sings to gold
    Stephen Pritchard, The Guardian
  • The monster Polypheme in a monstrously satisfying performance by Matthew Brook: one of the most compelling giants on disc
    BBC Radio 3 CD Review
  • Matthew Brook’s arias were rare gems of poignant phrasing rested in dramatic accuracy
    Australian Stage
  • Matthew Brook’s virile bass is outstanding
    The Times
  • Matthew Brook leapt to fame with his 2007 Gramophone Award winning recording of Handel’s Messiah with the Dunedin Consort, followed by equally critically acclaimed recordings of Acis and Galatea and St Matthew Passion

    Recent and future highllights include recordings of Bach’s Christmas Oratorio and Rameau’s Anacreon with the Orchestra of the Age of Enlightenment, Zebul Jephtha with the Sixteen, and Mozart’s Requiem with the Dunedin Consort, and performances of Bach’s St John Passion with the Monteverdi Choir and St Matthew Passion with Soli Deo Gloria in Chicago with John Nelson and with the Seattle Symphony Orchestra with Ludovic Morlot; Vaughan Williams’s Sea Symphony with the Hallé; Brahms’ German Requiem with the Royal Northern Sinfonia; Rossini’s Petite Messe Solennelle with the King’s Consort; Stravinsky’s Pulcinella with the BBC National Orchestra of Wales; Manoah Samson with the Handel and Haydn Society in Boston; and the world premiere of Barry Guy’s “Time passing” with Camerata Zurich. .

    • Beethoven Missa Solemnis, Royal Northern Sinfonia/Zehetmair
      The Sage Gateshead (June 2014)

      Matthew Brook’s expressive introduction to the Agnus Dei was another highlight.
      Jane Shuttleworth, bachtrack.com
    • Mozart Requiem, Dunedin Consort
      Linn Records CKD 449

      Matthew Brook's bass responds sonorously to the sounding of the last trumpet in the 'Tuba mirum’.
      David Threasher, Gramophone
    • Bach St John Passion, Britten Sinfonia
      Barbican Centre, London (April 2014)

      Matthew Brook sang Christus and the bass arias with measured nobility.
      George Hall, The Guardian
    • Bach St Matthew Passion, Soli Deo Gloria
      Harris Theater for Music and Dance, Chicago (April 2014)

      Matthew Brook was eloquent in everything he sang, not least the great aria ‘Gerne will ich mich bequemen’.
      John von Rhein, Chicago Tribune
      Bass-baritone Matthew Brook provided worthy vocalism in his solo moments as well.
      Lawrence A. Johnson, Chicago Classical Review
      Matthew Brook…contributed impressively in [his] solos.
      Adam Dahlgren, Splash Magazines
    • Bach St Matthew Passion, Yorkshire Bach Choir & Baroque Soloists
      St Michael-le-Belfrey, York (March 2014)

      Matthew Brook’s Christus was the backbone of the evening, mightily resilient.
      Martin Dreyer, The York Press
    • Bach St John & St Matthew Passions, Seattle Symphony
      Benaroya Hall (February 2014)

      Matthew Brook had room in the St. John to demonstrate profoundly moving artistry both as Jesus and in the arias.
      Bernard Jacobson, The Seattle Times
      The rest of the soloists also were impressive, particularly bass-baritone Matthew Brook.
      Melinda Bargreen, The Seattle Times
    • Bach Christmas Oratorio, The Orchestra of the Age of Enlightenment (Layton)
      Hyperion CDA68031/2

      Matthew Brook's resplendent all-guns-blazing ‘Grosser Herr'.
      Paul Riley, BBC Music Magazine
      I was most impressed with the soloists, particularly Matthew Brook’s resonant bass.
      Graham Lock, Early Music Magazine
      Matthew Brook's arias have a most enjoyable vigour.
      Carl Rosman, International Record Review
    • Brahms Requiem, Royal Northern Sinfonia (Thomas Zehetmair)
      The Sage, Gateshead (September 2013)

      The other soloist, bass Matthew Brook was also excellent, powerful throughout the range and with particularly rich low notes. The bass soloist pleads God to teach us to know that we all have an end, and his words are echoed by the choir; Matthew Brook gave this passage a firm assurance, and with the interesting effect of a master teaching his students who repeat and accept his lesson.
      Jane Shuttleworth, bachtrack.com
      Matthew Brook sang with wise authority.
      Graham Rickson, theartsdesk.com
    • Handel Esther (Haman), Dunedin Consort
      Wigmore Hall, London (April 2013)

      As the venomous Haman, Matthew Brook dark bass-baritone registered with malign force, though he also highlighted the sympathy finally allowed the king's official when he is condemned to death.
      George Hall, The Guardian
      It is Haman who has the first air, “Pluck root and branch from out the land”, and here the commanding bass Matthew Brook established his core vocal strength, to be balanced by the vigorous and perfectly balanced chorus.
      Colin Clarke, Seen and Hear International
    • Handel Messiah, BBC National Orchestra of Wales
      St. David’s Hall, Cardiff (December 2012)

      But for me two of the most satisfying parts of the evening were given to us by Bass-baritone Matthew Brook whose singing of the Airs "Why do the nations so furiously rage together" and, in particular, "The trumpet shall sound" were memorable indeed.
      Peter Collins, The Western Mail
    • Pilate and bass-baritone soloist (St John Passion), The Three Choirs Festival
      Hereford Cathedral (July 2012)

      Bowen's lineup of soloists were also strong. Matthew Brook tellingly defined Pilate's dilemma as well as finding a mellifluous flow in the bass arias.
      Rian Evans, The Guardian
      Matthew Brook was in very fine voice. He sang the recitative part of Pilate intelligently and did his arias very well. . . We got a much better view of Brook’s vocal prowess in Betrachte, mein Seel. Here he could deploy a very pleasing rounded tone and excellent, even legato. He sang the aria warmly and with fine expression. I also enjoyed very much ‘Mein teurer Heiland’ for the same reasons.
      John Quinn, Seen and Heard International
    • Haman (Handel’s Esther - First Reconstructable Version (Cannons), 1720)
      The Dunedin Consort/Butt, CD Linn CKD397

      Brook’s performance of the villain Haman’s ‘Turn not, O Queen’ transfixes everyone
      David Vickers, Gramophone
      Brook’s noble singing of Haman’s (futile) plea for mercy to Esther and his admonitory final aria give the oratorio’s villain near-tragic grandeur
      Richard Wigmore, Gramophone
    • Brahms, Ein deutsches Requiem, Monteverdi Choir/Gardiner
      CD SDG706 (May 2012)

      Matthew Brook’s dark-hued baritone is excellent for the role
      Calum MacDonald, BBC Music Magazine
      The baritone Matthew Brook opens ‘Herr, lehre doch mich’ with a simple eloquence that is very persuasive…The combination of an unaffected solo baritone and period woodwind at ‘Ach, wie gar nichts sind alle Menschen’ is extremely effective...
      Nigel Simeone , International Record Review
    • J. S. Bach, Cantata No. 207
      The Dunedin Consort/Butt (May 2012)

      The gauzy mystery of this aria, unlike anything else in Bach, was caught by the players with delicate care, and bass Matthew Brook sang with a lovely grave eloquence.
      Ivan Hewett, The Telegraph
    • ‘Welt, gute Nacht’ (J.C.Bach), English Baroque Soloists/Gardiner,
      CD SDG715, December 2011

      Matthew Brook’s powerful, richly-hued Wie bist du den, o Gott with its incredible two-octave vocal range
      Charlotte Gardner, Classic FM
    • Seneca (L’Incoronazione di Poppea),
      Festival del Maggio Musicale Fiorentino/Curtis, June 2011

      Only Matthew Brook as Seneca, Anders Dahlin as Ottone and Nicola Marchesini as the Nurse had any real grasp of Monteverdian style
      Opera Now
    • The King of Scotland (Ariodante), Il Complesso Barocco/Curtis,
      Virgin Classics 0 70844-2, May 2011

      The Briton Matthew Brook [...] proves himself an outstanding Handel bass as the King of Scotland
      Hugh Canning, International Record Review
    • The King of Scotland (Ariodante), Il Complesso Barocco/Curtis,
      Barbican Centre, London, May 2011

      [The] King of Scotland [was] ...sympathetically incarnated in Il Complesso Barocco’s concert performance by Matthew Brook...this was a feast of bel canto so delicious as to melt the prejudices of even the most hardened Handel opera sceptics.
      Rupert Christiansen, The Telegraph
      Matthew Brook [was] a sonorous King of Scotland
      Richard Fairman , The Financial Times
      Matthew Brook made the most of the role of the King of Scotland, his bass deep and emotive...'Invida sorte' was sung with pronounced feeling
      John E. de Wald, Opera Britannia
    • Weber, Der Freischütz, Opera Comique, Paris / Gardiner
      April 2011

      The singing was first rate...Matthew Brook made an impressive Kouno
      James Jolly, Gramophone
    • Bach, Christmas Oratorio / The Orchestra of the Age of Enlightenment/  Butt
      Queen Elizabeth Hall, December 2010

      “Brook's baritone realised the greatest variety of expressive tone-colour”
      Rhian Evans, The Guardian
    • Vaughan Williams, Sancta Civitas, Bach Choir/Bournemouth Symphony Orchestra/David Hill
      Naxos 8.572424 (May 2010)

      [Vaughan Williams] would have appreciated these fine soloists, chief among them Matthew Brook, who turns anything he sings to gold.
      Stephen Pritchard, The Guardian
      There is infinite compassion, in the third movement … from baritone Matthew Brook, whose grainy timbre I can best compare to that of a youthful John Tomlinson
      Piers Burton-Page, International Record Review
    • “Bach and Beyond”, Australian Chamber Orchestra/Richard Tognetti
      (Australia, April 2010)

      Brook’s agile bass.
      Clive O’Connell,The Age
      animated; especially Matthew Brook (bass), whose delivery is assertive; commanding, even.
      Lloyd Bradford Syke, The Australian Stage
    • Friar Tuck (Ivanhoe), BBC National Orchestra of Wales/David Lloyd-Jones,
      Chandos Records CHAN10578 (January 2010)

      “’Ho, jolly Jenkin’… spiritedly tossed off by Matthew Brook.”
      John T. Hughes, International Record Review
      “vigorous and spirited rendition of “Ho, jolly Jenkin.”
      – Faye Courtney, Opera Britannia
      “very well-sung by Matthew Brook”
      David Laviska, Musical Criticism
    • Handel Messiah, Handel and Haydn Society/Harry Christophers
      (Boston Symphony Hall, December 2010)

      Tenor Tom Randle and baritone Matthew Brook both had powerful, robust voices that served them well at the most dramatic moments.
      David Weininger, The Boston Globe
  • Matthew Brook Opera Repertoire

    Bernstein
    • A Quiet Place (Young Sam)
    Bizet
    • Carmen (Zuniga)
    Britten
    • Albert Herring (Vicar)
    • Noye’s Fludde (Noye)
    • Peter Grimes (Ned Keene)
    Handel
    • Acis and Galatea (Polyphemus)
    • Ariodante (Il Re)
    • Apollo et Dafne (Apollo)
    • Jephtha (Zadok)
    • Tolomeo (Eraspe)
    Janáček
    • Jenufa (Starek) (Mayor)
    Menotti
    • Amahl and the Night Visitors (Melchior)
    Monteverdi
    • L'incoronazione di Poppea (Seneca)
    Mozart
    • Don Giovanni (Leporello)
    • Le nozze di Figaro (Figaro)
    • Die Zauberflöte (Papageno)
    Purcell
    • Dido and Aeneas (Aeneas)
    • The Indian Queen (Ismeron)
    Puccini
    • Tosca (Sacristan)
    Rameau
    • Anacréon (Anacréon)
    • Castor et Pollux (Jupiter)
    Sullivan
    • Trial by Jury (Counsel)
    • Ivanhoe (Friar Tuck)
    Tchaikovsky
    • Eugene Onegin (Onegin) (Zaretsky)
    Vaughan Williams
    • The Pilgrim’s Progress (John Bunyan) (Lord Hategood) (Watchful)(Obstinate) and (First Shepherd)
    Walton
    • Troilus and Cressida (Antenor, Calkas)
    Weber
    • Der Freischütz (Kuno)

    Matthew Brook Concert Repertoire

    Bach
    • Magnificat including interpolations
    • Masses in A, G, and F
    • B Minor Mass
    • St John Passion
    • St Matthew Passion
    • Christmas Oratorio
    • Easter Oratorio
    • Cantatas including numbers: 13, 18, 27, 32, 52, 56, 62, 66, 70, 78, 82, 85, 106, 110, 132, 140, 150, 151, 152, 158, 161, 164, 165, 182, 211
    JC Bach
    • Wie bist du den O Gott
    Buxtehude
    • Jesu membra nostre
    Beethoven
    • Mass in C
    • Choral Symphony
    Berlioz
    • L’Enfance du Christ (all bass/baritone roles)
    Blow
    • God spake sometime in visions
    Blake
    • Benedictus
    Brahms
    • Liebeslieder Waltzes
    • Requiem
    Britten
    • Cantata Misericordium
    Burgon
    • The fall of Lucifer
    Carissimi
    • Jephte
    Charpentier
    • Caecilia Virgo
    • Elevation
    • Mass
    • Te Deum
    Dvorak
    • Mass in D
    • Requiem
    • Stabat Mater
    • Te Deum
    Dyson
    • Canterbury Pilgrims
    Elgar
    • Apostles
    • Dream of Gerontius
    • The Kingdom
    Faure
    • Requiem
    Finzi
    • In terra pax
    • Let us garlands bring
    • Lo the full final sacrifice
    Grieg
    • Four Psalms
    Grier
    • Around the curve of the world
    Handel
    • Acis and Galatea
    • Alexander’s Feast
    • Apollo et Dafne
    • Dixit Dominus
    • Esther
    • Israel in Egypt
    • Judas Maccabeus
    • Messiah
    • Samson
    • Sing unto the Lord
    • Utrecht Te Deum
    Haydn
    • Creation
    • Harmony Mass
    • Heilige Messe
    • Maria Therese Mass
    • Nelson Mass
    • Pauken Mass
    • St Nicholas Mass
    • Seasons
    Howells
    • Requiem
    Janacek
    • Glagolitic Mass
    • Unvollendete Messe
    Joubert
    • The Magus
    Kodaly
    • Te Deum
    Maunder
    • Olivet to Calvary
    Mendelssohn
    • Elijah
    • Walpurgisnacht
    Mozart
    • Missa Brevis
    • Mass in C Minor
    • Mass in C
    • Regina Coeli
    • Requiem Vespers
    Monteverdi
    • Vespers
    • Book IV Madrigals
    Purcell
    • In guilty night
    • Ode to St Cecilia
    • Come ye sons of art
    Anthony Powers
    • Air and Angels
    Orff
    • Carmina Burana
    Puccini
    • Messe di Gloria
    Rameau
    • In convertendo
    • Thetis
    Rossini
    • Stabat Mater
    • Petite Messe Solenelle
    Stainer
    • Crucifixion
    Schütz
    • Christmas Story
    Stravinsky
    • Canticum Sacrum
    • Pulcinella
    Tippett
    • A child of our time
    Vaughan Williams
    • Benedicite
    • Dona nobis pacem
    • Sancta Civitas
    • Fantasia on Christmas Carols
    • 5 Mystical Songs
    Walton
    • Belshazzar’s Feast
  • Photos

    • Photographer credit: Richard Shymansky
      Photographer credit: Richard Shymansky
    • Photographer credit: Richard Shymansky
      Photographer credit: Richard Shymansky
    • Photographer credit: Richard Shymansky
      Photographer credit: Richard Shymansky
    • Photographer credit: Richard Shymansky
      Photographer credit: Richard Shymansky
    • Photographer credit: Richard Shymansky
      Photographer credit: Richard Shymansky
    • Photographer credit: Richard Shymansky
      Photographer credit: Richard Shymansky