"Most impressive was the [baritone] Nicholas Mogg as Abner...who brought out the drama of his music."
"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
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. 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, 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.
National Opera Studio 40th Anniversary Concert, Cadogan Hall
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
Hackney Empire (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
Round Chapel, 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.
Wolverhampton Grand Theatre, 2017
...it 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
Handel Ormisda (Erismeno)
London Handel Festival, 2017
Nicholas Mogg asserted his strong and powerful baritone in the role of the malevolent Erismeno.
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.
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.
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".
Nicholas Mogg brought a very strong and secure bass voice to the character of Abner, the Captain of the Jewish forces.
Oxford Lieder Recital
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.
Nicholas Mogg Opera Repertoire
Albert Herring (Vicar)
Orfeo (title role)*
Così fan tutte (Guglielmo)*
Orphée aux Enfers (Jupiter)
Il Barbiere di Siviglia (Figaro)*
Ariadne auf Naxos (Harlekin)*Die Fledermaus (Falke)
Die Dreigroschenoper (Herr Peachum)
|* denotes roles studied|
Nicholas Mogg Concert Repertoire
Christ lag in Todesbanden BWV 4
Mass in D major
Dettingen Te Deum
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
Quatre Chansons de Don Quichotte
Liederkreis Op. 39
Songs of Travel