Peter Sidhom is represented by Rayfield Allied worldwide.

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Peter Sidhom


  • 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.

    • 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
      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
    • Le Roi Arthus, Opera national de Paris
      (May/June 2015)

      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.
      BB, Anaclase
    • Doctor Atomic, Teatro de la Maestranza Seville
      (March 2015)

      Peter Sidhom’s diction and authority were just right for General Groves.
      Victoria Stapells, Opera Magazine
    • Das Rheingold, Hong Kong Philharmonic
      (January 2015)

      Peter Sidhom’s darkly sonorous baritone, skilfully employed to great dramatic effect, was perfect for portraying the blustery Alberich, and he, Begley and the vividly-enacted Mime of David Cangelosi struck sparks off each other even without the aid of costumes and props.
      Vincent H.K. Laur, Opera Magazine
      Peter Sidhom’s Alberich, by contrast, was detestably evil, helped by suitable outbursts that reinforced his psychotic panache for oppression.
      Alan Yu, bachtrack
      Peter Sidhom as Alberich sounded corrosive, dramatic, and well-suited for the role. Whether with a clenched fist while trying to catch the Rhinemaidens, or with a stomping foot during the love curse, Sidhom also managed to inhabit the role and, while reacting to the words and scenes, devoured the space with raw delirium.
      The Fleeting Spectator
      Dramatically, the performance was led by Peter Sidhom’s chilling Alberich, believably portraying the Nibelung dwarf’s transition from unloved gnome to wielder of the all-powerful ring.
      Philip Eisenbeiss, Interlude
    • Das Rheingold, Opera de Paris
      (June 2011)

      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
    • Falstaff
      Scottish Opera

      One man steals the show - Peter Sidhom - whose portrayal of the fat, debauched and generally unsavoury Sir John Falstaff is a thrilling tour de force. It doesn't take much to imagine him as perfect for the part...but this is no clone of a past success: this is Sidhom reading a fresh and distinctive individuality into one of opera's most likeable rogues...Verdi's racy music, which never misses a comic turn, lays down all the clues, and Sidhom uses every one of them to his advantage. He is vocally robust, his comic timing is inspired, and with the necessary body padding he plays an arrogant, fat slob with calculated, athletic clumsiness. Sidhom's influence on the production is infectious.
      Kenneth Walton, The Scotsman
      Playing Falstaff, the Scottish Opera favourite Peter Sidhom wears a fat suit and wrings pathos and plenty of laughs from the role. He combines hypermobile joints with his heavily padded body to great effect, rocking himself breathlessly out of a chair, cramming his impressive bulk into a laundry hamper.
      Anna Burnside, Sunday Times
      Resplendent in his fat-suit, his shirt front a Jackson Pollock drip painting of chicken fat and sherry, Peter Sidhom's Sir John has charm enough to offset his oily paunch. Preposterous as he is, you can bet he'd be more fun in the sack than the jealous, proper, handsome Ford (William Dazeley). Sidhom's easy gestures, conversational phrasing, bright tone and idiomatic diction are matched by the rest of the cast and by orchestral playing
      Anna Picard, Independent on Sunday
      Peter Sidhom's Sir John Falstaff was one of those rare natural performances, every gesture perfectly timed and executed and at no times going over the top to achieve a cheap laugh. Vocally, he was certainly up to the mark, perhaps singing slightly tentatively at the beginning of the evening, being careful to reach and produce all his notes, but quickly settling in to give a rounded and complete vocal performance. Sidhom always gives full value for money and it is a pleasure to see him enjoying such a marvellous comic role.
      Walter Paul, Independent
  • Peter Sidhom’s Opera Repertoire

    • Nixon in China (Kissinger)
    • Doctor Atomic (General Groves)
    • Bluebeard’s Castle (Bluebeard)
    • Fidelio (Pizarro)
    • Carmen (Escamillo)
    • The Olympians (Jupiter)
    • Billy Budd (Claggart, Redburn, Flint)
    • Peter Grimes (Balstrode)
    • Death in Venice (The Traveller)
    • Volo di Notte (Riviere)
    • L’Elisir d’Amore (Belcore, Dulcamara)
    • Don Pasquale (Dr. Malatesta)
    • Lucia di Lammermoor (Enrico)
    • The Jacobin (Bohus)
    • Planet 8 (The Representative)
    • Iphigénie en Tauride (Thoas)
    • Die Königin von Saba (Solomon)
    • Faust (Mephistopheles)
    • Romeo et Juliette (Capulet)
    • Savitri (Death)
    • Wandering Scholar (Fr. Philippe)
    • I Pagliacci (Tonio)
    • L’Oracolo (Cim-Fen)
    • Cavelleria Rusticana (Alfio)
    • L’Amico Fritz (David)
    • The Greek Passion (Father Gregoris)
    • Herodiade (Herod)
    • Jeannie Deans (Deans)
    • The Consul (Policeman)
    • L’Africaine (Nelusko)
    • Le Nozze di Figaro (Figaro, Count)
    • Così fan tutte (Guglielmo, Don Alfonso)
    • Die Zauberflöte (Papageno, Speaker)
    • Don Giovanni (Don Giovanni, Leporello)
    • Khovanshchina (Shaklovity)
    • La Belle Hélène (Agamemnon)
    • Orphée aux Enfers (Jupiter)
    • Les Contes d’Hoffman (Baritone roles)
    • La Gioconda (Barnaba)
    • Love for Three Oranges (Leander)
    • War and Peace (Denisov, Napoleon)
    • Le Villi (Guglielmo Wulf)
    • La Bohème (Marcello, Schaunard)
    • Tosca (Scarpia)
    • Madama Butterfly (Sharpless)
    • La Fanciulla del West (Jack Rance)
    • Il Tabarro (Michele)
    • Gianni Schicchi (Schicchi)
    • The Ghost Sonata (Bengtsson)
    • Il Barbiere di Siviglia (Figaro, Dr Bartolo)
    • La Cenerentola (Dandini, Don Magnifico)
    • Der Ferne Klang (Dr. Vigelius)
    • The Wreckers (Pascoe)
    • Der Rosenkavalier (Faninal)
    • Elektra (Oreste)
    • Arabella (Mandryka)
    • The Rake’s Progress (Nick Shadow)
    • Oedipus Rex (Messenger)
    • Eugene Onegin (Onegin)
    • Queen of Spades (Tomsky)
    • King Priam (Priam)
    • La Traviata (Germont)
    • Un Ballo in Maschera (Renato)
    • Rigoletto (Rigoletto, Monterone)
    • Aida (Amonasro)
    • Falstaff (Ford, Falstaff)
    • Otello (Iago)
    • Macbeth (Macbeth)
    • Nabucco (Nabucco)
    • Simon Boccanegra (Paolo)
    • The Ring Cycle (Alberich, Donner, Gunther)
    • Die Meistersinger (Beckmesser)
    • Parsifal (Klingsor)
    • Lohengrin (Telramund, Herald)
    • Der Fliegende Holländer (Dutchman)
    • Rienzi (Orsini)
    • The Bear (Smirnov)
    • Der Zwerg (Don Estoban)

    Peter Sidhom’s Concert Repertoire

    J.S BACH
    • Magnificat
    • St. John Passion
    • St. Matthew Passion
    • B Minor Mass
    • Various cantatas
    • Symphony No. 9
    • Missa Solemnis
    • Ein Deutsches Requiem
    • A War Requiem
    • Te Deum
    • Magnificat
    • Te Deum
    • Stabat Mater
    • The Dream of Gerontius
    • The Apostles
    • In terra pax
    • The Messiah
    • Saul
    • Dettingen Te Deum
    • The Creation (Die Schöpfung)
    • The Seasons
    • Kindertotenlieder
    • Lieder eines Fahrenden Gesellen
    • Elijah (Elias)
    • Requiem
    • Mass in C
    • Coronation Mass
    • The Bells
    • Stabat Mater
    • Petite Messe Solennelle
    • Gurrelieder
    • Moses und Aaron
    • Les Noces
    • The Whale
    • Five Mystical Songs
    • A Sea Symphony
    • Fantasia on Christmas Carols
    • Messa di Requiem
    • Belshazzar’s Feast
  • Photos