Omar Ebrahim is represented by Rayfield Allied worldwide.

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Omar Ebrahim

Baritone

  • That ever-remarkable baritone Omar Ebrahim, always sensitive to text, had chilling authority
    Fiona Maddocks, Observer
  • The star is Omar Ebrahim.
    Richard Morrison, The Times
  • The heft and robustness of Omar Ebrahim’s baritone gives his performance of the Office an oddly noble solemnity that feeds directly into the work’s profoundly ironic character
    Christopher Ballantine, Opera Magazine

  • Omar Ebrahim began singing as a chorister at Coventry Cathedral and went on to study voice at the Guildhall School of Music and Drama. He served his performing apprenticeship at the Royal Shakespeare Company and Glyndebourne. He has been associated with many new music projects including The Electrification of the Soviet Union by Nigel Osbourne and Birtwistle’s The Second Mrs Kong for Glyndebourne Festival Opera, and Berio’s Un Re in Ascolto and Birtwistle’s Gawain for the Royal Opera House. He appeared in Liza lim’s opera The Navigator at the festivals in Brisbane and Melbourne and gave first performances of Enno Poppe’s concert and opera collaborations with Marcel Beyer - Interzone, Arbeit Nahrung, Wohnung and IQ - at the Berlin festival, Munich Biennale and Schwetzingen.

    In exploring the connection between spoken word and song, he has helped recreate the sound worlds of Frank Zappa (Ensemble Modern, The Adventures of Greggary Peccary) and Blade Runner with the Heritage Orchestra. Other text led projects include Morton Feldman’s Words and Music and Frank O’Hara Songs with the Ensemble Recherche, King Gesar by Peter Lieberson for Munich Biennale. He is also closely associated with Ligeti’s Aventure et nouvelles Aventures. He has performed and recorded In the Penal Colony by Phillip Glass, Michael Nyman’s Facing Goya, Kris de foort’s House of the sleeping Beauties and John Harle’s ballad opera Jamie Allan.

    Omar Ebrahim is represented worldwide by Ralph Blackbourn at Rayfield Allied.
    This biography is for information only and should not be reproduced.

    • In the Penal Colony
      Recording

      The heft and robustness of Omar Ebrahim’s baritone gives his performance of the Office an oddly noble solemnity that feeds directly into the work’s profoundly ironic character.
      Christopher Ballantine, Opera Magazine

    • Julius Fucik, London Philharmonic Orchestra
      Royal Festival Hall

      Omar Ebrahim’s Fucik, hounded by a handheld searchlight… Chilling and effective.
      Richard Morrison, The Times
      Omar Ebrahim offered an excellent performance. This excellent account, antiphonal drumming and all, exuded brutality, psychoticism, and yet inviting, spellbinding beauty.
      Mark Berry, Boulezian Blog

    • Ecclesiastical Action, London Philharmonic Orchestra
      Royal Festival Hall

      Omar Ebrahim and Malcolm Sinclair were the fiercely committed speakers.
      Tim Ashley, The Guardian

    • In the Penal Colony
      Music Theatre Wales

      That ever-remarkable baritone Omar Ebrahim, always sensitive to text, had chilling authority as the Officer.
      Fiona Maddocks, Observer
      Omar Ebrahim's powerful and emotive Officer
      Kenneth Walton, The Scotsman
      Omar Ebrahim put flesh and blood on the blinkered Officer
      Andrew Clark, Financial Times

    • Skellig
      The Sage

      the star is Omar Ebrahim. He wheezes, roars, belches and retches the part of Skellig with terrific verve
      Richard Morrison, The Times
      the magnificent Omar Ebrahim, who gave the early enfeebled Skellig a scary baritone rasp before declaiming his name in a great melismatic shout at the end of the first half..... And then Skellig, who drops into the hospital to protect the child, finally bursts into full-throated song, a real hog-the-stage solo which Ebrahim relishes as he spreads both his wings and his voice.
      David Ward, Observer
      The casting for Braham Murray's production - the first full opera to be commissioned by the Sage - is first rate. Omar Ebrahim is outstanding as the arthritic angel: his emergence from a heap of old sacks prompts squeals of disgust from the young audience, and he is required to employ the full extent of his baritone range from guttural grunting to unearthly falsetto.
      Alfred Hickling, Guardian

  • Omar Ebrahim’s Repertoire

    Barber
    • Samuel Hand of Bridge
    Berio
    • Un Re in Ascolto (Singer)
    Beckett
    • Words and Music
    Birtwistle
    • Gawain (Fool)
    • Mask of Orpheus (Aristaeus II)
    • Punch and Judy (Punch)
    • The Second Mrs. Kong (Vermeer)
    • Yan Tan Tethera
    Bizet
    • Carmen (Escamillo)
    Cavalli
    • Calisto
    Davis
    • Peace
    Dove / Feldman
    • Siren Song
    Henze
    • The Raft of the Medusa
    Lieberson
    • King Gesar (Narrator)
    Ligeti
    • Aventures, Nouvelles Aventures
    Mozart
    • Don Giovanni (Don Giovanni)
    Oliver
    • Beauty and the Beast (Beast)
    Osborne
    • Nigel Hell's Angels
    • Terrible Mouth
    • The Electrification of the Soviet Union (Serezha)
    Puccini
    • La Boheme (Schaunard)
    Schoenberg
    • A Survivor from Warsaw
    • Ode to Napoleon
    Sondheim
    • Sweeney Todd (Tobias)
    J. Strauss
    • Die Fledermaus (Orlofsky)
    R. Strauss
    • Enoch Arden
    Sullivan
    • Iolanthe (Strephon)
    Tippett
    • King Priam (Hector)
    • New Year (Donny)
    • The Knot Garden
    Verdi
    • Macbeth (Macbeth)
    Von Bose
    • 63 Dream Palace (Parkurst)
    Weill
    • Mahagonny Songspiel
    • The Rise and Fall of the City of Mahogonny (Bill)

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