Peter Harvey is represented by Rayfield Allied worldwide.

Artist Manager:
.(JavaScript must be enabled to view this email address)

Associate Artist Manager:
.(JavaScript must be enabled to view this email address)

Peter Harvey


  • It is a sober, intelligently thought through, and beautifully sung Winterreise
    BBC Music Magazine
  • Harvey's performance bristles with musical intelligence, historical sensibility and linguistic expertise
    The Observer
  • Harvey, meanwhile, confirmed his status as one our finest baritones with his beautifully modulated singing in ‘Wondrous machine!'
    Stephen Pettitt, The Times
  • Peter Harvey arrived at Magdalen College, Oxford to study French and German, and though he soon afterwards changed course to music, his love of languages has always remained at the heart of his singing. He went on to study at the Guildhall School of Music, where he won prizes in a number of international singing competitions.

    He has made well over a hundred recordings in repertoire spanning eight centuries, with an emphasis on music from the High Baroque.

    He works regularly with the English Baroque Soloists and Monteverdi Choir, directed by John Eliot Gardiner, Gabrieli Consort and Paul McCreesh, King’s Consort, Netherlands Bach Society, Purcell Quartet and London Baroque, as well as appearaning with The Sixteen and Harry Christophers, Orchestra of the Age of Enlightenment, BBC National Orchestra of Wales and BBC Symphony. A fluent French speaker, he works and records with La Chapelle Royale/Collegium Vocale Ghent and Philippe Herreweghe, Les Talens Lyriques and Christophe Rousset and Le Concert Spirituel and Hervé Niquet. His long association with Michel Corboz, has taken him throughout France, Switzerland and Japan. Other conductors he has worked with include Ivan Fischer, Gustav Leonhardt, Colin Davis, Masaaki Suzuki, Ton Koopman and Bernard Haitink (with the Boston Symphony Orchestra).

    He founded and directs the Magdalena Consort, which focuses on the vocal music of J.S. Bach and they have given performances in Spain, Germany and the UK.

    • Intimate German Baroque (JC Bach, Buxtehude, JS Bach)
      Tafelmusik Baroque Toronto (January 2017)

      Harvey is a pleasure to listen to. He may be a lyric baritone, ideally suited to Baroque-era music and art song, but he also has a nice, full chest voice. He is a fine craftsman, shaping phrases with great skill, and subtly shading each note.
      John Terauds, Musical Toronto
      The English baritone Peter Harvey was the guest singer who masterfully played with excellent German pronunciation in the two cantatas and Bach's Lament.
      Giuliana Dal Piaz, L'Ape musicale
    • Handel: Messiah
      Royal Scottish Northern Orchestra (January 2017)

      Baritone Peter Harvey sang with equally perfect diction, giving an expressive and assertive performance. ... Harvey kept up his compelling sense of drama in his recitatives.
      Miranda Heggie, Herald Scotland
    • Purcell: The Fairy Queen
      Royal Danish Opera (September 2016)

      Some notable international imports for this production, among them early music specialists ... Peter Harvey ... . Harvey ... provided the most stylish singing.
      Andrew Mellor, Opera Now
    • C.P.E. Bach: Magnificat
      Carmel Bach Festival (July 2016)

      All these singers acquitted themselves beautifully... The most authoritative of them was baritone Peter Harvey whose singing and personality reached farthest into the auditorium.
      Scott MacClelland, Performing Arts Monterey Bay
    • J.S. Bach: Cantata “Ein feste Burg ist unser Gott” (BWV 80)
      Carmel Bach Festival (July 2016)

      Soprano Mhairi Lawson and bass Peter Harvey sang expressively and with ease in the first two arias, the first for soprano solo and the second, a duet.
      Roger Emanuels, Peninsula Reviews
    • St Matthew Passion
      Stuttgarter Kammerchor und Barockorchester (released on Carus, 2016)

      ['Mache dich' is] ... beautifully seasoned and suitably absorbing.
      Jonathan Freeman-Attwood, Gramophone
      It is a joy to have Peter Harvey, the most musical of all Bach singers.
      David Stancliffe, Early Music Review
    • Bach Magnificat
      Royal Concertgebouw Orchestra (April 2016)

      The strength of the performance lay in the solo contributions from singers and musicians. Bass Peter Harvey and mezzo-soprano Rosanne van Sandwijk both gave worthy performances.
      Jenny Camilleri, bachtrack
      ... the excellent soloists ...
      Mischa Spel, NRC
    • St John Passion, BWV 245 (Christus)
      Akademie für Alte Musik Berlin & Gächinger Kantorei, Stuttgarter Liederhalle (February 2016)

      [Bach]'s depiction of Christ is one of deep sovereignty, which shows Jesus standing above things, until his death on the cross. Peter Harvey (bass) .... brought this character and Jesus' superiority in the hearing in front of Pilate across impressively.
      TBH, Stuttgarter Nachrichten
      Bass Peter Harvey sang the role of Jesus without boastful pathos, but with intense expression.
      Dietholf Zerweck, Esslinger Zeitung
      ... Peter Harvey's Jesus, full of quiet authority...
      Markus Dippold, Stuttgarter Zeitung
    • Mass in B minor
      Concerto Copenhagen (released on CPO, Jan 2016)

      Peter Harvey’s ‘Quoniam’ has dignified gravitas.
      David Vickers, Gramophone
      Vocally, Lars Ulrik Mortensen has has brought together a high class selection of artists, all of whom are true to their reputation: ... the great Peter Harvey for the bass part: he sings with beautiful tone as always and is without reservation outstanding in the arias.
      Matthias Lange, Klassik Magazin
    • The Magic Flute
      Carmel Bach Festival (July 2015)

      Best in this cast were Harvey, an engaging Papageno...
      Richard S. Ginell, Classical Voice North America
      Harvey steals the show as Papagano, the endearing birdman looking for his ladylove, Papagana.
      Barbara Rose Shuler, Monterey Herald/Play Monterey Bay
      Peter Harvey as Papageno was delightful to hear and watch from start to finish. The concert version allowed us to enjoy his acting, and his well-developed character charmed us the entire evening.
      Robin McKee Williams, Peninsula Reviews
    • St John Passion, BWV 245 (1725 version)
      Carmel Bach Festival (July 2015)

      Other fresh elements in the 1725 version include a couple of arias and recitatives that don’t exist in any other works by Bach, including a stunning bass aria sung by Harvey.
      Barbara Rose Shuler, Monterey Herald/Play Monterey Bay
    • Wachet auf (BWV 140) / Haydn Harmoniemesse
      Carmel Bach Festival (July 2015)

      In a performance of pure beauty, Johann Sebastian Bach’s much-loved “Sleepers Awake” cantata introduced the festival chorale along with soloists Dominique Labelle, Peter Harvey and Aaron Sheehan. Harvey and Labelle delivered superb accounts of the cantata’s bass and soprano love duets.
      Barbara Rose Shuler, Monterey Herald/Play Monterey Bay
    • Recital: Bach and Dresden
      Carmel Bach Festival (July 2015)

      A short solo cantata for bass by J.S. Bach (BWV 158) opened the program... Soloist Peter Harvey has a beautiful tone in all registers, with even the lowest notes maintaining focus and quality. ... Baritone Harvey joined the ensemble for Salve Regina by Zelenka, a Bohemian composer active in Dresden and in Vienna. The virtuoso solo part indicates that the composer had talented musicians to work with, and Harvey glided effortlessly through the long melismas. ... A recitative and aria from [Johann Adolphe Hasse’s] oratorio “Pilgrims at the Tomb of Our Lord” for baritone and ensemble was probably the most dramatic work on the program. Peter Harvey was superb in the vocal demands of the operatic work, demonstrating agility and a warm sound from the high to low notes... It was a joy to hear.
      Roger Emanuels, Peninsula Reviews
      Peter Harvey’s warm, resonant baritone comfortably took on Bach’s Cantata No. 158, Zelenka’s Salve Regina, and a recitative and aria from Johann Adolphe Hasse’s Italian-flavored I Pellegrini al Sepolcro di nostro Signore.
      Richard S. Ginell, Classical Voice North America
    • Ach Gott, wie manches Herzeleid, BWV 58
      Bachstiftung St. Gallen (January 2015)

      Peter Harvey expresses [the key sentiments of the cantata] in the recitatives with a clarity and intensity that stirs the audience up; through his distinctive and supple baritone voice the angel that appeared to Joseph at night in a dream becomes utterly present and tangible.
      Bettina Kugler, St. Galler Tagblatt
    • Bach Cantatas : Recreation for the Soul
      Magdalena Consort (CCS SA 35214, released Sept 2014)

      Buoyant and agile in performance… [a] brilliant disc.
      Fiona Maddocks, The Observer ****
    • Saul
      Tafelmusik Baroque (February 2014)

      Peter Harvey was a mercurial and malevolent Saul.
      Robert Harris, Globe and Mail
    • St. Matthew Passion
      Royal Concertgebouw Orchestra (ArtHaus Musik DVD, recorded live 2012)

      Peter Harvey’s seasoned Christus provides an uncomplicated and devotional anchor to Fischer’s otherwise objectivised reading.
      Jonathan Freeman-Attwood, Gramophone Magazine
      Peter Harvey’s Christus emphasises a dignified humanity.
      Paul Riley, BBC Music Magazine
      The solo voices are dominated by Padmore’s Evangelist and Peter Harvey’s Christus – both are immensely experienced performers of these roles, and both are on excellent form.
      Nigel Simeone, International Record Review
    • Ich habe genug BWV 82
      Monteverdi Choir, Aldeburgh Festival (June 2013)

      True solo performing came from Peter Harvey in the cantata, Ich habe genug. Harvey has a lovely, warm baritone sound and impeccable German diction: he phrased the cantata beautifully and sang the low and high passages alike with (apparent) ease. The work was a pleasure to hear.
      Michael Reynolds, Musical Criticism
    • Schubert Winterreise
      Linn Records

      It is a sober, intelligently thought through, and beautifully sung Winterreise…
      BBC Music Magazine
      Harvey uses not just his vocal cords but also his gasping lungs, the tips of his teeth and the surface of his tongue to let us into Schubert's world. You're left with an impression not so much of Harvey's 'voice', but of an imprint of his emotional journey. All this makes for something wonderful. I've encountered few performances in which the sound world of voice and piano appear so close. You get far more detail than usual, particularly at low volume. But you also get tremendous mechanical momentum in the faster movements and a chilling, icy brittleness in those songs that teeter on the edge of emotional collapse - much of it coming from Cooper's no-nonsense fingers.
      Andrew Mellow, Classic FM Magazine
      a performance which arouses sympathy from the start and never forfeits that rare and special kind of interest which is brought into play only with a sense of complete and urgent identification between the composition and its performers. Peter Harvey sings with the voice of humanity.
      John Steane, Grammophone
      The performance bristles with musical intelligence, historical sensibility and linguistic expertise. Harvey and Gary Cooper,playing a copy of an 1823 Brodmann piano, have gone back to original sources and examined Schubert's many verbal or melodic changes of mind. The keyboard colour, without the usual "equal temperament" tuning, is light-toned and full of rapid contrasts - an ideal match for Harvey's voice. Linn Records, Gramophone's Label of the Year 2010, produces a sound so lively you think they are performing in your Biedermeier drawing room.
      Fiona Maddocks, The Observer
  • Peter Harvey Discography

  • Photos