Nicholas Sharratt

Tenor

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  Nicholas Sharratt is one of the most promising of the younger generation of British singers who possesses a natural stage presence as well as fine vocal qualities. He was born in Nottingham and studied at Birmingham University, Royal Northern College of Music and the National Opera Studio.

  He is a frequent guest at Opera North where his roles have included Pedrillo Die Entfuhrung aus dem Serail, Camille The Merry Widow and Louis Lipmann Gershwin Of Thee I Sing and Let ‘em Eat Cake. Other roles include Almaviva Il Barbiere di Siviglia and Nemorino L’Elisir d’amore for Grange Park Opera, Brighella Ariadne auf Naxos and Albazar The Turk in Italy for Garsington Opera, Ernesto Don Pasquale for English Touring Opera, Tamino Die Zauberflote and Chevalier Dialogues des Carmelites in Tel Aviv and Ferrando Cosi fan tutte in Japan. For Wexford Festival Opera he has sung Judge Schwanda the Bagpiper and Andres Maria del Carmen which was recorded for NAXOS.

  On the concert platform he has sung Britten St. Nicolas, Handel Messiah, Tippett A Child of Our Time, Haydn The Creation and Nelson Mass, Mozart Requiem and Vespers and Bach Magnificat and B minor Mass. He sang Hotel Porter Death in Venice for Richard Hickox and the Philharmonia Orchestra.

  Current engagements include Orpheus Orpheus in the Underworld for Scottish Opera on Tour and Almaviva The Barber of Seville for English Touring Opera.

  Nicholas Sharratt is represented by Rayfield Allied worldwide.
  This biography is for information only and should not be reproduced.

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  • The Barber of Seville, English Touring Opera
    Hackney Empire

    Sharratt emerged in every sense the hero: a chameleon in manner, movements worthy of commedia dell’arte, and a commanding vocal presence.

    Michael Church, The Independent

    Nicholas Sharratt is similarly strong as Count Almaviva, with a plangent tenor capable of negotiating even “Cessa di più resistere” with pleasing ease

    John Allison, The Telegraph

    Nicholas Sharratt is a personable Count.

    Graham Rogers, The Stage

    Nicholas Sharratt's charming Almaviva and Grant Doyle's urbane Figaro (doubling on guitar for Almaviva's serenade) work well together

    Anna Picard, The Independent on Sunday

    Good young tenori di grazia are not easy to find, and the bar has been raised unfeasibly high in recent years. Nicholas Sharratt was a more than respectable Almaviva...he has an ingratiating timbre which he deployed effectively in the more lyrical moments, and the coloratura clearly holds no terrors for him. He earns full marks just for being willing to attempt “Cessa di più resistere” – an aria that was omitted from live performances as a matter of course until the arrival on the scene of a certain young Peruvian tenor ten years ago. It is to Sharratt’s immense credit that he executed it as well as he did.

    Steve Silverman, Opera Britannia

    Nicholas Sharratt is an affable Almaviva

    Julia Rank, A Younger Theatre

  • Orpheus in the Underworld
    Scottish Opera

    ...excellent cast can both act and sing, notably Jane Harrington's bolshy Eurydice, Nicholas Sharratt's effete Orpheus, Gavin Ring's sleazy Pluto and Daire Halpin's sloaney fox-hunting Diana.

    Kate Molleson, Guardian

    The strong cast do Offenbach’s music all the favours it deserves, with no let-downs. It all builds easily from the early Mozart-style duet, flitting back and forth between Nicholas Sharratt’s upper-crust Orpheus and Eurydice.

    Thom Dibdin, The Stage

    The Strength of the show is its hard-working cast, all of whom project well and give the impression that they, at least, are having fun: comic timing is excellent… Maie Flavin’s Opinion makes the most of her limited opportunities, while Nicholas Sharratt (Orpheus), Brendan Collins (Jupiter), Christopher Diffey (Mercury), Daire Halpin (Diana) and Olivia Ray (Juno) all cut a distinctive profile.

    Andrew Clark, Opera

  • The Portrait
    Opera North

    There was luxury casting in the multiple cameos...Nicholas Sharratt's ominous lamplighter...

    Martin Dreyer, Opera Magazine

  • The Abduction from the Seraglio
    Opera North

    …Nicholas Sharratt's powerful Pedrillo

    Alfred Hickling, Guardian

    Nicholas Sharratt and Elena Xanthoudakis were well-balanced in the rival love pairing

    Opera Magazine

    ...the vocal performances are strong and resilient ...Nicholas Sharratt is an appealing Pedrillo

    Lynne Walker, Independent

    Nicholas Sharratt sang Pedrillo's adorable serenade neatly and sweetly...

    Rupert Christiansen, Daily Telegraph

  • The Elixir of Love
    Grange Park Opera

    …only Sharratt’s [voice] with his nice line in pathos, was especially appealing.

    Roderic Dunnett, Opera

    The love-sick Nemorino becomes a Buddy Holly look-alike in Nicholas Sharratt’s fine portrayal, sung with moving pathos, especially in Una furtiva lagrima.”

    John Allison, The Times

    What does work very well is having the hero, Nemorino, well-taken by Nicholas Sharratt, as a bumbling Woody Allen lookalike, at once gauche and touching…he rises well to the challenge of the great lyrical aria, Una furtiva lagrima.

    Edward Greenfield

    …Una furtiva lagrima, to which Sharratt brought an especial poignancy

    Roderic Dunnett, Opera Now

    Nicholas Sharratt plays Nemorino as a delicious no-hoper…

    Roderic Dunnett, The Independent

    …the sad, lost young man, Nicholas Sharratt with a lovely lyric tenor…and yes, the big number – Una furtiva lagrima – has been going through my head all night

    BBC Stoke

• Nicholas Sharratt’s Opera Repertoire

  BEETHOVEN

  • Fidelio (First Prisoner)

  BIZET

  • The Pearlfishers (Nadir)

  BRITTEN

  • Albert Herring (Albert)
  • A Midsummer Night's Dream (Flute, Snout)
  • Death In Venice (Hotel Porter)

  CAVALLI

  • Giasone (Demo)

  DONIZETTI

  • Don Pasquale (Ernesto)
  • L'Elisir D'Amore (Nemorino)

  DOVE

  • Swanhunter (Soppy Hat, Dog, Death's Son)
  • Tobias and the Angel (Tobias)

  FLEISHMAN

  • Rothschild's Violin (Rothschild)

  GERSHWIN

  • Of Thee I sing (Lippman)
  • Let 'em Eat Cake (Lippman)

  GLUCK

  • La Danza (Tirsi)

  GOUNOD

  • Romeo Et Juliette (Benvolio)

  GRANADOS

  • Maria Del Carmen (Andres)

  HAYDN

  • La Vera Costanza (Ernesto)
  • L'infedelta Delusa (Nencio)

  LEHAR

  • The Merry Widow (Camille, St. Brioche)

  MONTEVERDI

  • Coronation of Poppea (Nero)
  • Orfeo (Pastore)

  MOZART

  • Don Giovanni (Don Ottavio)
  • Cosi Fan Tutte (Ferrando)
  • Abduction From the Seraglio (Pedrillo)
  • Die Zauberflote (Tamino)
  • La Clemenza Di Tito (Tito)

  OFFENBACH

  • Two Blind Men (William [Geraflier])

  POULENC

  • Dialogues Des Carmelites (Chevalier)

  PUCCINI

  • Il Tabarro (Tinca)

  ROSSINI

  • Il Barbiere di Siviglia (Almaviva)
  • Il Turco in Italia (Albazar)
  • L'occasione fa il ladro (Alberto, Eusebio)

  SONDHEIM

  • Into the Woods (Jack)

  STORACE

  • Gli Equivoci (Eufemio di Siracusa)

  R.STRAUSS

  • Intermezzo (Baron Lummer)
  • Ariadne auf Naxos (Brighella)

  J.STRAUSS

  • Die Fledermaus (Alfred)

  TCHAIKOVSKY

  • Eugene Onegin (Lensky)

  VAUGHAN WILLIAMS

  • The Poisoned Kiss (Amaryllus)

  VERDI

  • Falstaff (Fenton)

  WEILL

  • Seven Deadly Sins (Brother 1 and 2)
  • One Touch of Venus (Rodney)

  WEINBERG

  • Noble Gentleman/The Portrait (Lamplighter)
  • Schwanda Dudak (Sudi [Judge])

  WEINBERGER

  • Schwanda Dudak (Sudi [Judge])

  Nicholas Sharratt’s Oratorio Repertoire

  BACH

  • B Minor Mass
  • Magnificat
  • St John Passion

  BERLIOZ

  • Requiem

  BRTTEN

  • St. Nicolas

  GOUNOD

  • St. Cecilia Mass

  HANDEL

  • Messiah

  HAYDN

  • Creation
  • Lord Nelson Mass
  • The Season

  MOZART

  • C Minor Mass
  • Requiem
  • Vespers de Confessore

  MENDELSSOHN

  • Elijah
  • St. Paul

  ROSSINI

  • Petite Messe Solennelle

  SCHUTZ

  • Christmas Story

  TIPPETT

  • A Child of Our Time

  VAUGHAN WILLIAMS

  • A Serenade to Music

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