Nicholas Mogg


"Most impressive was the [baritone] Nicholas Mogg as Abner...who brought out the drama of his music."

Classical Source

"Nicholas Mogg asserted his strong and powerful baritone in the role of the malevolent Erismeno."


"It was [baritone] Nicholas Mogg who impressed most, not only with the clarity of his voice but also some very powerful performances of the arias. "

Wolverhampton Express and Star

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Winner of the 2017 Royal Over-Seas League Singers Section, Nicholas Mogg has recently completed his studies on the Opera Course at the Royal Academy of Music where he studied with Mark Wildman and Iain Ledingham, having previously read music at Clare College, Cambridge where he was a choral scholar. In 2018, he received a Young Artist Development Award through the Glyndebourne New Generation Programme, supporting his current National Opera Studio course. In September 2019, he joined the Studio at the Staatsoper Hamburg where roles include Blaubart Bella und Blaubart, Marullo Rigoletto, Il Barone Douphol La Traviata, and Dancaïro Carmen.

He is an Oxford Lieder Young Artist, a Britten-Pears Young Artist, a Park Lane Group Young Artist, a Live Music Now Artist, a Drake Calleja Scholar, a soloist for the RAM/Kohn Foundation Bach Cantata Series, and a member of the Academy’s prestigious Song Circle. Nicholas won the 2017 Richard Lewis/Jean Shanks Award, and in 2015 won the Joan Chissell Schumann Lieder Prize, the Elena Gerhardt Lieder Prize, and the Oxford Lieder Young Artist Platform. He is the recipient of the Baroness de Turckheim Award, the Thompson Family Charitable Trust Award, and the Norman Ayrton Scholarship.

Operatic roles to date include Peachum Die Dreigroschenoper, Jupiter Orphée aux Enfers at Hackney Empire, Melisso Alcina for Royal Academy Opera, Count Almaviva The Marriage of Figaro for Hampstead Garden Opera; Vicar Albert Herring for Mid Wales Opera Young Artists; Falke Die Fledermaus for Cambridge University Opera; and Starveling A Midsummer Night’s Dream for Shadwell Opera at the Edinburgh Fringe.

Nicholas sang at the Aix-en-Provence Opera Festival in 2014, the Bavarian State Opera and the Royal Opera House, Covent Garden in 2015, and was an Alvarez Young Artist at Garsington Opera in 2016.

Nicholas has appeared as a soloist at the Barbican Hall, Concertgebouw Amsterdam, Palau de la Música Catalana, Bozar Brussels, KKL Luzern, and the Philharmonie de Paris with conductors including Sir John Eliot Gardiner, Ton Koopman, and Sir Roger Norrington. He has established a successful duo partnership with pianist Jâms Coleman, and together they have performed recitals at Wigmore Hall, the Oxford Lieder Festival, Two Moors Festival, Roman River Festival, and the Ryedale Festival.

Recent and future engagements include the title role Don Giovanni and Steward Flight for Royal Academy Opera, his debut at Glyndebourne appearing in Der Rosenkavalier, Aeneas Dido & Aeneas for the English Touring Opera, Dandini La Cenerentola for West Green House Opera, Handel’s Messiah with both the Orquestra Cuidad de Valencia and the Real Orquestra Sinfónica de Sevilla, a tour of Bach’s St John Passion (arias) with the Orchestra of the 18th Century, Schubert’s Schwanengesang at the Two Moors Festival with Jâms Coleman, and a return to the Oxford Lieder Festival for Vaughan Williams Songs of Travel.

This biography is for information only and should not be reproduced.

Rossini La Cenerentola (Dandini)

West Green House Opera (July 2019)

Initially cutting a swathe in a blaze of tartan, Nicholas Mogg has a high old time as Dandini while maintaining meticulous control of his lean, resonant baritone.

Yehuda Shapiro, The Stage****

Several performances stand out in particular with Nicholas Mogg revealing a baritone of great aesthetic refinement, nuance and depth as he really relishes playing Dandini masquerading as the Prince.

Sam Smith, MusicOMH*****​

National Opera Studio 40th Anniversary Concert, Cadogan Hall

(January 2019)

In the scene with Balstrode his interlocuter was Nicholas Mogg, who later appeared as Guglielmo, again showing himself to be a baritone of energy, eloquence and sophistication.

Yehuda Shapiro, Opera Magazine

Dido and Aeneas (title) / Jonas / I Will Not Speak

English Touring Opera (October 2018)

There are performances of blazing conviction by … Nicholas Mogg’s Aeneas.

Tim Ashley, The Guardian

Nicholas Mogg who is an excellent Aeneas.

Sam Smith, MusicOMH*****

The main work was Purcell’s watertight Dido and Aeneas (1689), with Sky Ingram and Nicholas Mogg assured in the title roles.

Fiona Maddocks, The Observer

Rarely does Purcell’s vivid setting of Nahum Tate’s libretto find such convincing exponents as in Sky Ingram’s impassioned Dido, Nicholas Mogg’s clearly conflicted Aeneas…each sort out the intensity of meaning contained within Purcell’s notes as well as expertly delivering the notes themselves, including the most highly decorated passages.

George Hall, Opera Now

Jonathan Dove Flight (Steward)

Royal Academy Opera (March 2018)

Nicholas Mogg...displayed [a] promising baritone voice.

Richard Fairman, Financial Times****

...baritone Nicholas Mogg as the randy Steward, big in voice and personality.

Stephen Pritchard, The Guardian****

Olivia Warburton and Nicholas Mogg were well-matched as the bright-eyed, bushy-tailed cabin crew.

Claire Seymour, Opera Magazine

Mozart Don Giovanni (Title Role),

Royal Academy Opera (November 2017)

Nicholas Mogg was a patrician Giovanni, his strong, elegant baritone conveying a confident urbanity.

Claire Seymour, Opera Magazine

Nicholas Mogg, deft, funny and confident as Giovanni. The supper scene went from hilarity to horror brilliantly, Giovanni was as romantically defiant as you could wish, the mix of jokes and seriousness was nicely judged.

Robert Thicknesse, Opera Now

At first, Nicholas Mogg’s cleanly sung Giovanni seems too nice, but as the opera progresses, a darker character emerges, becoming diabolical, almost demented.

Nick Kimberley, Evening Standard****

Mozart at Teatime, Royal Over-Seas League

Edinburgh Fringe (2017)

Mogg’s exaggerated facial expressions during his two arias from The Magic Flute were entirely in keeping with his comic character.

The Herald

Handel Messiah

Wolverhampton Grand Theatre (2017) was bass Nicholas Mogg who impressed most, not only with the clarity of his voice but also some very powerful performances of the arias Why do the nations so furiously rage and The trumpet shall sound.

Wolverhampton Express and Star

Bach St Matthew Passion

Barbican Hall (2016)

Nicholas Mogg's "Der Heiland fällt...Gerne will ich mich bequemen" was beautifully smooth, his slurs expertly managed.

Seen and Heard International

Nicholas Mogg's dark-toned singing suited Pilate.

Classical Source

Although it has not always paid off to bring members of the choir forward to sing the solo arias, there were fine efforts here from [...] Nicholas Mogg and Ashley Riches.

Financial Times

Handel Ormisda (Erismeno)

London Handel Festival (2017)

Nicholas Mogg asserted his strong and powerful baritone in the role of the malevolent Erismeno.


Handel Athalia

(November 2015)

Most impressive was the bass Nicholas Mogg as Abner, captain of the Jewish forces, who brought out the drama of his music especially in "When storms the proud to terrors doom".

Classical Source

Nicholas Mogg brought a very strong and secure bass voice to the character of Abner, the Captain of the Jewish forces.


Oxford Lieder Recital

(October 2015)

The first was given by baritone Nicholas Mogg, who won this year’s Oxford Lieder Young Artist Platform and it was easy to see why, as not only is the voice remarkably well focused but his presence is alive and he communicates warmly, introducing the songs with relaxed confidence. He brought a profound yearning to Fauré’s Vaisseaux, nous vous aurons aimes en pure perte and a sensitive integrity to Schubert’s An die Musik. I look forward to hearing him again soon.

Lark Reviews

Nicholas Mogg Opera Repertoire


Albert Herring (Vicar)
Billy Budd (title role)*
Noye’s Fludde (Noye)
The Rape of Lucretia (Tarquinius)*


Alcina (Melisso)
Ormisda (Erismeno)


Orfeo (title role)*


Così fan tutte (Guglielmo)*
Die Zauberflöte (Papageno)*
Le nozze di Figaro (Il Conte)
Don Giovanni (title role)


Orphée aux Enfers (Jupiter)


Il Barbiere di Siviglia (Figaro)*


Ariadne auf Naxos (Harlekin)*

Die Fledermaus (Falke)

Montano (Otello)


Die Dreigroschenoper (Herr Peachum)

* denotes roles studied

Nicholas Mogg Concert Repertoire


Christ lag in Todesbanden BWV 4
Liebster Gott, wann werd ich sterben BWV 8
Herr Gott, dich loben wir BWV 16
Wer Dank opfert, der preiset mich BWV 17
Ich hatte viel Bekümmernis BWV 21
Liebster Jesu, mein Verlangen BWV 32
Ich will den Kreuzstab gerne tragen BWV 56
Wer mich liebet, der wird mein Wort halten BWV 59
Ich habe genug BWV 82
Ich bin ein guter Hirt BWV 85
Der Herr is mein getreuer Hirt BWV 112
Herr Jesu Christ, wahr’ Mensch und Gott BWV 127
Aus der Tiefen rufe ich, Herr, zu dir BWV 131
Wachet auf, ruft uns die Stimme BWV 140
Der Friede sei mit dir BWV 158
Sehet, wir gehn hinauf gen Jerusalem BWV 159
O heilges Wasserbad BWV 165
Leichtgesinnte Flattergeister BWV 181
Vereinigte Zweitracht der wechselnden Saiten BWV 207
Mass in B minor BWV 232
Mass in G major BWV 236
Magnificat in D major BWV 243
St Matthew Passion BWV 244
St John Passion BWV 245
Christmas Oratorio BWV 248
Easter Oratorio BWV 249


Missa Solemnis
Symphony No. 9




Mass in D major




Dettingen Te Deum
Israel in Egypt


Nelson Mass
The Creation


Missa Solemnis


Missa Brevis




Vespers of 1610


Mass in C Minor


A Child of Our Time

Nicholas Mogg Song Cycles


An die ferne Geliebte


Songs before Sleep


A Shropshire Lad


Weihnachts Lieder


L’Horizon Chimérique
Poème d’un jour


Quatre Chansons de Don Quichotte


Rückert Lieder




Liederkreis Op. 39

Vaughan Williams

Songs of Travel

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