Matthew Brook is represented by Rayfield Allied Worldwide.

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Matthew Brook


  • 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 virile bass is outstanding
    The Times
  • Matthew Brook’s arias were rare gems of poignant phrasing rested in dramatic accuracy
    Australian Stage
  • Matthew Brook, who turns anything he sings to gold
    Stephen Pritchard, The Guardian
  • 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 highlights include Argenio Imeneo at the Göttingen International Handel Festival, Fauré’s Requiem with the Orchestre de Chambre de Paris, Monteverdi Vespers with the Dunedin Consort, Mozart’s Requiem with the Fryderyk Chopin Institute in Warsaw, Tippett’s A Child of Our Time with the Hallé Orchestra, Zoroastro Orlando with the English Concert, Handel’s Messiah with the Danish National Symphony Orchestra and with the Los Angeles Symphony Orchestra, Il Re di Scozia Ariodante with the Staatstheater Stuttgart and on tour with the English Concert, Bach’s Lutheran Masses with the Academy of Ancient Music, and performances of Bach’s B Minor Mass and The Dream of Gerontius with the Cincinnati Symphony Orchestra.

    • Handel Ariodante (Il Re)
      Staatstheater Stuttgart, Stuttgart (March 2017)

      Matthew Brook sings the torn king with a lot of nuance and patriarchical pathos.
      Gerhard R Koch, Frankfurter Allgemeine Zeitung
      Matthew Brook is a very strong King.
      Mirko Weber, Stuttgarter Zeitung
      The ensemble…shows disarming musical ability…in particular Matthew Brook as the wriggly King.
      Wolfgang Schreiber, Sueddeutsche Zeitung
      Matthew Brook as the supply sung king is the standout in the cast.
      Karl Georg Berg, Die Rheinpfalz
      Matthew Brook, renowned as a Baroque specialist and appearing in Stuttgart as a guest, mastered the role of the King with flying colours.
      Werner Grimmel, Schwaebische Zeitung
      Matthew Brook as the King…is part of a top team.
      Juergen Kanold, Suedwest Presse
      Matthew Brook brings out the cowardly aspect of the role by adding a fair amount of lachrymosity into his sympathy.
      Christoph Wurzel, Online Musik Magazin
      Outstanding performances by the men, Matthew Brook as the King of Scotland paints the finest nuances, singing his threnody with so much credibility that it almost makes you cry.
      Ulrich Enzel, Heilbronner Stimme
      As the King, Matthew Brook impressed with his good Italianita and his well-cultivated bass.
      Der Klassikkritiker
      The King of Scotland’s beautiful bass voice: Matthew Brook.
      Laszlo Molnar, Klassikinfo
    • Handel Messiah, Dunedin Consort
      Kings Place, London (December 2016)

      Brook sounded fierily brilliant in Why Do the Nations and The Trumpet Shall Sound.
      Tim Ashley, The Guardian
    • Cryptic, Fantasy and Madness, Dunedin Consort
      Assembly Roxy, Edinburgh (October 2016)

      Singers Mhairi Lawson and Matthew Brook – both ruddy-cheeked and grinning suggestively – gave brilliantly vivid performances, full of vocal theatrics, savouring every word for its dramatic potential
      David Kettle The Scotsman
    • Purcell The Married Beau, The English Concert
      Wigmore Hall (September 2016)

      Matthew Brook [was] genial and gusty in his arias.
      Neil Fisher, The Times
      More engaging still was bass-baritone Matthew Brook, a born performer with something of the great Christopher Purves about his tone and dramatisation, in Cardenio's "Let the Dreadful Engines”.
      David Nice,
      Matthew Brook gave us a characterful and delightfully swaggering rogue in When the World first knew creation. A lively Aire and another Hornpipe were followed by Brook's performance of Let the Dreadful Engines, a song in which the singer mistakenly believes his love has rejected him. The result was a highly dramatic sequence, full of free arioso with some lovely bravura moments, as well as charm and quiet passion. Brook really brought out the words, and turned the piece into a real tour de force.
      Robert Hugill,
    • Bach St John Passion, Handel & Haydn Society
      Boston Symphony Hall (March 2016)

      In bass-baritone Matthew Brook’s forthright performance, Jesus was a strong if enigmatic human presence… Immediately preceding the latter aria, the same two violinists accompanied bass-baritone Brook in a touchingly halting performance of the meditation “Betrachte, meine Seel.” The bass-baritone sounded a more urgent note in the aria “Eilt, ihr angefochtnen Seelen” (Hurry, you tormented souls), in which the rapid choral interjections of “Wohin?” (Where?) were uncannily soft, like echoes of disembodied souls.
      David Wright, Boston Classical Review
      Bass-baritone Matthew Brook sang the role of Jesus with mellifluous gravity and warm beauty of tone. Although additional singers are often employed for the tenor and bass arias, these were sung by Mulroy and Brook respectively, requiring a shift in character from narrator or active participant to grieving bystander, a role change they both handled convincingly. A highlight of the evening was the bass arioso, “Betrachte, meine Seel” (Ponder, my soul), the jagged intervals of the vocal line accompanied by two muted violins.
      Virginia Newes, The Boston Musical Intelligencer
    • Bach St Matthew Passion
      St Paul Chamber Orchestra, Ordway Concert Hall (October 2015)

      The others, all of whom contributed mightily, were Mhairi Lawson, Anna Dennis, Helen Charlston, Nick Pritchard and Matthew Brook.
      Michael Anthony, Star Tribune
    • Bach St Matthew Passion, Three Choirs Festival
      Hereford Cathedral (July 2015)

      Bass Matthew Brook brought a shining dignity to his portrayal of Christ.
      Stephen Prichard, The Observer
      The superlative bass-baritone Matthew Brook as Christ.
      Roderic Dunnett,
    • Bach St Matthew Passion (1727 Version), York Bach Choir / Peter Seymour
      Signum SIGCD385 (June 2015)

      The second bass is Matthew Brook, who…firmly captures the dichotomy of articulate precision and dramatic desperation in ‘Gebt mir meinen Jesum wieder'.
      David Vickers, Gramophone
    • Handel Messiah, Cardiff Polyphonic Choir 50th Anniversary
      St David's Hall, Cardiff (December 2014)

      But it was bass Matthew Brook’s vivid projection and the dramatic immediacy he brought that had most impact. His final aria 'The trumpet shall sound' with its instrumental obbligato, Ross Brown on valveless trumpet, was as stirring as Handel intended.
      Rian Evans, The Guardian
    • 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,
    • 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,
      Matthew Brook sang with wise authority.
      Graham Rickson,
    • 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

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

    Matthew Brook Concert Repertoire

    • 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
    • Jesu membra nostre
    • Mass in C
    • Choral Symphony
    • L’Enfance du Christ (all bass/baritone roles)
    • God spake sometime in visions
    • Benedictus
    • Liebeslieder Waltzes
    • Requiem
    • Cantata Misericordium
    • The fall of Lucifer
    • Jephte
    • Caecilia Virgo
    • Elevation
    • Mass
    • Te Deum
    • Mass in D
    • Requiem
    • Stabat Mater
    • Te Deum
    • Canterbury Pilgrims
    • Apostles
    • Dream of Gerontius
    • The Kingdom
    • Requiem
    • In terra pax
    • Let us garlands bring
    • Lo the full final sacrifice
    • Four Psalms
    • Around the curve of the world
    • 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
    • Creation
    • Harmony Mass
    • Heilige Messe
    • Maria Therese Mass
    • Nelson Mass
    • Pauken Mass
    • St Nicholas Mass
    • Seasons
    • Requiem
    • Glagolitic Mass
    • Unvollendete Messe
    • The Magus
    • Te Deum
    • Olivet to Calvary
    • Elijah
    • Walpurgisnacht
    • Missa Brevis
    • Mass in C Minor
    • Mass in C
    • Regina Coeli
    • Requiem Vespers
    • Vespers
    • Book IV Madrigals
    • In guilty night
    • Ode to St Cecilia
    • Come ye sons of art
    Anthony Powers
    • Air and Angels
    • Carmina Burana
    • Messe di Gloria
    • In convertendo
    • Thetis
    • Stabat Mater
    • Petite Messe Solenelle
    • Crucifixion
    • Christmas Story
    • Canticum Sacrum
    • Pulcinella
    • A child of our time
    Vaughan Williams
    • Benedicite
    • Dona nobis pacem
    • Sancta Civitas
    • Fantasia on Christmas Carols
    • 5 Mystical Songs
    • 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