"Peter Sidhom is chilling as the six figures who lead Aschenbach towards his nemesis"
Rupert Christiansen, Daily Telegraph
"Peter Sidhom’s Alberich matches John Tomlinson note-for-note in a grand and perceptive interpretation of the Ring’s chief villain"
George Hall, The Stage
"Peter Sidhom's wonderfully dark Scarpia adds a riveting stage presence to his resonant voice"
Anthony Holden, The Observer
Peter Sidhom was born in Egypt of a Maltese-Italian mother and an Egyptian father, and settled in England at the age of ten. After reading Modern Languages at London University, he studied singing with Hervey Alan and Josephine Veasey.
Peter Sidhom has appeared at many of the world’s leading international opera houses including the Royal Opera House Covent Garden, Glyndebourne Festival, Opera Bastille Paris, San Francisco Opera, Lyric Opera of Chicago, La Monnaie Brussels, Teatro Comunale Florence, Theatre du Capitole Toulouse, Staatstheater Stuttgart, Teatro Real de Madrid and Teatro La Fenice. He has also sung leading roles with all the British companies including ENO, Scottish Opera, WNO and Opera North.
Operatic roles have included Alberich Der Ring des Nibelungen, Scarpia Tosca and Paolo Simon Boccanegra for Royal Opera House Covent Garden, Falstaff and Pizarro Fidelio for Scottish Opera, The Traveller Death in Venice in Lyon, Bregenz and Aldeburgh, Klingsor Parsifal in Nice, Faninal Der Rosenkavalier in San Francisco and Chicago and Balstrode Peter Grimes at the Bastille and in Geneva.
Equally at home on the concert platform, he has appeared in all the major UK concert halls and appears frequently at the BBC Proms. Conductors he has worked with include Richard Armstrong, David Atherton, Martyn Brabbins, Paul Daniel, Andrew Davis, Christoph von Dohnányi, Mark Elder, Bernard Haitink, Richard Hickox, Oliver Knussen, Sir Charles Mackerras, Antonio Pappano, Carlo Rizzi and Edo de Waart.
This biography is for information only and should not be reproduced.
Le Roi Arthus, Opera national de Paris
Peter Sidhom delivered a perfect Merlin.
Jos Hermans, Leidmotif
The singers of the numerous smaller roles were greatly convincing, headed by ... Peter Sidhom as Sorcerer Merlin, here the alter ego and conscience of the king.
Christian Wildhagen, Neue Zürcher Zeitung
We applaude ... the manifest authority of Peter Sidhom's Merlin.
Doctor Atomic, Teatro de la Maestranza Seville
Peter Sidhom’s diction and authority were just right for General Groves.
Victoria Stapells, Opera Magazine
Das Rheingold, Hong Kong Philharmonic
Naxos 8660374-75. (Released: Nov 2015)
Peter Sidhom’s Alberich combines real malevolence with a touch of the panto-mime villain.
Andrew Clements, The Guardian
[Matthias Goerne’s Wotan] is well supported by a cast that includes some vivid characterisations (Peter Sidhom’s high-Gothic Alberich, ...)
Richard Fairman, Financial Times
Alberich is portrayed with snarling menace by baritone Peter Sidhom, who, despite being unafraid of distorting the voice in service to his depiction of the character’s agenda, ultimately sings the part with greater fidelity to Wagner’s score than many recorded Alberichs. In the opera’s first scene, he dispatches 'Hehe! ihr Nicker' with the forcefulness of a gunshot, and Sidhom’s increasingly agitated, unsettling articulations of 'Garstig, glatter glitschriger Glimmer!' and 'Der Welt Erbe gewann'ich zu eigen durch dich?' are electrifying. ... His portrait of the embittered Nibelung is laudably consistent. The baritone’s account of 'Hehe! Hehe! Hieher! Hieher! Tückischer Zwerg!' is invigorating, and in both 'Schau, du Schelm!' and 'Die in linder Lüfte Weh'n da oben ihr lebt' Alberich’s nefarious intentions scintillate in Sidhom’s singing. The opera’s final scene prompts Sidhom to give broad expression to Alberich’s frustration. His 'Wohlan, die Niblungen rief ich mir nah' and 'Gezahlt hab' ich nun laß' mich ziehn!' exude hatred and a burgeoning quest for vengeance. Sidhom is an Alberich who epitomizes villainy without caricature, and his considered, confident singing inspires sympathy for the character’s suffering.
Joseph Newsome, Voix des Arts
The storytelling is at the fore; impeccable diction is the order of the day. As revolting as Alberich always is, we can actually hear the flirtatious playfulness in the opera’s opening moments until he realizes that he doesn’t have a chance. And from then on, he’s simply vile–Peter Sidhom sings with an audible sneer and a ringing top to the voice that we rarely get in this role. He’s a baritone with remarkable “face”.
Robert Levine, Classics Today
Peter Sidhom enjoys himself greatly playing Alberich as an out-and-out ‘baddie’ with cackling laughter.
Mike Ashman, Gramophone
Individual performances give great pleasure. ... Peter Sidhom’s ripely bad-ass Alberich.
Marc Valencia, Sinfini Music
Das Rheingold, Opera de Paris
world-beating performances from his rasping Alberich (Peter Sidhom) and Kim Begley’s Loge
Francis Carlin, Financial Times
baritone Peter Sidhom is wonderfully nasty as Alberich
Judy Fayard, Wall Street Journal
The opera’s two other crucial roles fare better. As the ring’s initial owner, the dwarf Alberich, Peter Sidhom in a vibrantly sung performance appears delirious with power when his fortunes are high but plunges into despair after Wotan wrests the ring from him
George Loomis, New York Times
Peter Sidhom’s Concert Repertoire
St. John Passion
St. Matthew Passion
B Minor Mass
|BEETHOVEN||Symphony No. 9
|BRAHMS||Ein Deutsches Requiem|
|BRITTEN||A War Requiem|
|ELGAR||The Dream of Gerontius
|FINZI||In terra pax|
Dettingen Te Deum
|HAYDN||The Creation (Die Schöpfung)
Lieder eines Fahrenden Gesellen
Mass in C
Petite Messe Solennelle
Moses und Aaron
|VAUGHAN-WILLIAMS||Five Mystical Songs
A Sea Symphony
Fantasia on Christmas Carols
|VERDI||Messa di Requiem|
Peter Sidhom’s Opera Repertoire
|ADAMS||Nixon in China (Kissinger)
Doctor Atomic (General Groves)
|BARTOK||Bluebeard’s Castle (Bluebeard)|
|BLISS||The Olympians (Jupiter)|
|BRITTEN||Billy Budd (Claggart, Redburn, Flint)
Peter Grimes (Balstrode)
Death in Venice (The Traveller)
|DALLAPICCOLA||Volo di Notte (Riviere)|
|DONIZETTI||L’Elisir d’Amore (Belcore, Dulcamara)
Don Pasquale (Dr. Malatesta)
Lucia di Lammermoor (Enrico)
|DVORAK||The Jacobin (Bohus)|
|GLASS||Planet 8 (The Representative)|
|GLUCK||Iphigénie en Tauride (Thoas)|
|GOLDMARK||Die Königin von Saba (Solomon)|
Romeo et Juliette (Capulet)
Wandering Scholar (Fr. Philippe)
|LEONCAVALLO||I Pagliacci (Tonio)|
|MASCAGNI||Cavelleria Rusticana (Alfio)
L’Amico Fritz (David)
|MARTINU||The Greek Passion (Father Gregoris)|
|McCUNN||Jeannie Deans (Deans)|
|MENOTTI||The Consul (Policeman)|
|MOZART||Le Nozze di Figaro (Figaro, Count)
Così fan tutte (Guglielmo, Don Alfonso)
Die Zauberflöte (Papageno, Speaker)
Don Giovanni (Don Giovanni, Leporello)
|OFFENBACH||La Belle Hélène (Agamemnon)
Orphée aux Enfers (Jupiter)
Les Contes d’Hoffman (Baritone roles)
|PONCHIELLI||La Gioconda (Barnaba)|
|PROKOFIEV||Love for Three Oranges (Leander)
War and Peace (Denisov, Napoleon)
|PUCCINI||Le Villi (Guglielmo Wulf)
La Bohème (Marcello, Schaunard)
Madama Butterfly (Sharpless)
La Fanciulla del West (Jack Rance)
Il Tabarro (Michele)
Gianni Schicchi (Schicchi)
|REIMANN||The Ghost Sonata (Bengtsson)|
|ROSSINI||Il Barbiere di Siviglia (Figaro, Dr Bartolo)
La Cenerentola (Dandini, Don Magnifico)
|SCHREKER||Der Ferne Klang (Dr. Vigelius)|
|SMYTH||The Wreckers (Pascoe)|
|STRAUSS||Der Rosenkavalier (Faninal)
|STRAVINSKY||The Rake’s Progress (Nick Shadow)
Oedipus Rex (Messenger)
|TCHAIKOVSKY||Eugene Onegin (Onegin)
Queen of Spades (Tomsky)
|TIPPETT||King Priam (Priam)|
|VERDI||La Traviata (Germont)
Un Ballo in Maschera (Renato)
Rigoletto (Rigoletto, Monterone)
Falstaff (Ford, Falstaff)
Simon Boccanegra (Paolo)
|WAGNER||The Ring Cycle (Alberich, Donner, Gunther)
Die Meistersinger (Beckmesser)
Lohengrin (Telramund, Herald)
Der Fliegende Holländer (Dutchman)
|WALTON||The Bear (Smirnov)|
|ZEMLINSKY||Der Zwerg (Don Estoban)|