“Dingle Yandell’s baritone wins the prize for sheer vocal beauty, a voice that is honey-smooth and chocolaty sweet.” Simon Thompson, The Times
British bass-baritone Dingle Yandell is in demand for operatic roles and concert performances alike, appearing with leading orchestras and ensembles and at some of the world's great houses. This season sees him on stage as Masetto in Don Giovanni at the Royal Opera House Covent Garden and as Zuniga in Carmen at Glyndebourne Festival Opera. His concert calendar includes Bach's B Minor Mass with La Nuova Musica, Handel's Messiah with Bach Collegium Japan under Masaaki Suzuki, and a programme of Blow and Charpentier with Arcangelo at Wigmore Hall, as well as a tour singing Christus with the Gewandhausorchester and Thomanerchor Leipzig, marking the 300th anniversary of Bach's St Matthew Passion.
His previous opera appearances include Mr Redburn in Billy Budd and Theseus in A Midsummer Night's Dream, and Don Pizarro in Fidelio for Glyndebourne; Colline in La Bohème for English National Opera, and Fafner in Das Rheingold at Grimeborn. Further credits include Seneca in L'incoronazione di Poppea and Commendatore in Don Giovanni with Bach Collegium Japan, and The Cold Genius and Aeolus in King Arthur with the Gabrieli Consort.
His concert work is equally extensive. He has sung Handel's Messiah with the Dunedin Consort and with the Royal Philharmonic Orchestra at the Royal Albert Hall; Bach's Matthäus-Passion with Collegium Vocale Gent; Elgar's The Apostles with the Hallé Orchesta; Bach's Christmas Oratorio with the Monteverdi Choir and Orchestra; Handel’s Dixit Dominus with the Monteverdi Choir at the BBC Proms and Berliner Philharmonie; Handel’s Israel in Egypt with William Christie at the BBC Proms, and Bach’s Johannes-Passion with the Academy of Ancient Music at the Barbican. He sings regularly with the Early Opera Company, La Nuova Musica, and Holland Baroque, and appears as a soloist on L'Arpeggiata's recording Himmelsmusik.
Dingle trained at the Guildhall School of Music and Drama and the National Opera Studio, was one of the inaugural "Rising Stars" of the Orchestra of the Age of Enlightenment, and was a founder member of Voces8, with whom he toured internationally for ten years. He is a recipient of a Sybil Tutton Opera Award, administered by Help Musicians UK.
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Don Giovanni (Masetto)
Royal Ballet and Opera (September-October 2026)
'...a first-rate Masetto in Dingle Yandell, who for once suggests the strength to stand up to Don Giovanni'
Richard Fairman, Financial Times
'Dingle Yandell is a clarion, characterful Masetto'
Clive Paget, The Guardian
It was terrific to see British bass-baritone Dingle Yandell making his Royal Opera debut playing Zerlina’s dim-witted, gawky husband Masetto. He was excellent as Captain Zuniga in Carmen at Glyndebourne and brought his characterful vocal tone to the part.
London Unattached
'he sang with a wonderful, clarion bass-baritone voice that was commanding. He had tremendous stage presence, and I would love to see more of him in future roles.'
Mike Hardy, Opera Wire
Bach and Telemann Cantatas
Handel+Haydn Society, May 2026
"Dingle Yandell was mesmerizing, singing his long arias and recitatives like an opera star."
Rebecca Nemser, The Boston Musical Intelligencer
La bohème (Colline)
English National Opera, September 2024
“Particularly impressive was Dingle Yandell, his fruity bass-baritone and dash of debonair danger making the most of Colline.”
Bachtrack, Dominic Lowe
“Dingle Yandell’s Colline was clear and luminous as he prepared to pawn his beloved overcoat.”
The Guardian, Flora Willson
“…the particularly gifted Yandell provided one of his own when he delivered Colline’s aria near the end, garnering a rare round of applause.”
The Times, Daniel Lewis
“ Dingle Yandell’s Colline was the fourth of the group of attic friends and his rich dexterous bass brought gravity and humour and convinced with his touching selflessness at one point.”
Mark Aspen
“Dingle Yandell in his house debut as Colline displayed a well-schooled, authoritative bass that oozed star quality. His farewell to his coat was one of the vocal highlights of the evening – a major talent who clearly has an exciting career ahead of him.”
MucisOMH, Keith McDonnell
Carmen (Zuniga)
Glyndebourne, May 2024
"...Dingle Yandell is outstanding as Zuniga."
Richard Fairman, Financial Times
"Dingle Yandell made a darkly imperious Zuniga, with a rich and classy sound that belongs to that of an officer rather than a thug, and plays the role out accordingly before his grisly demise, which he accepts with quiet finality, in a moment of surprising pathos."
Benjamin Poore, OperaWire
"Dingle Yandell brings unusual prominence to José’s superior officer Lieutenant Zuniga..."
George Hall, The Stage
"... the bass-baritone who made me really sit up was Dingle Yandell as senior officer Zuniga, who is excised in an act of revenge and initiation to the criminal underworld."
Claudia Pritchard, CultureWhisper
"Dingell Yandell is charismatic and imposing as ill-fated Zuniga..."
David Nice, The Arts Desk
Daphne (Peneios)
Scottish Opera, September 2023
“British bass-baritone Dingle Yandell excels, delivering the Dionysian commitment of Peneios (Daphne’s father) with a winning combination of perfect vocal pitch and humorously excessive fervour.”
Mark Brown, The Telegraph ★★★★
“Dingle Yandell brought characteristic vigour and weight to the role of Peneios.”
Simon Thompson, The Times ★★★★
"Dingle Yandell as bass water-god father Peneios made impressive impacts, Yandell outstandingly so."
David Nice, theartsdesk.com ★★★★
A Midsummer Night’s Dream (Theseus)
Glyndebourne, July 2023
"Dingle Yandell’s bass voice as Theseus is imposing."
Richard Fairman, Financial Times ★★★★★
"The opera’s final act at court is dominated by Dingle Yandell’s wonderfully full-voiced and assured Theseus."
David Benedict, The Stage ★★★★
"In the final act Dingle Yandell’s patrician presence as Theseus was matched by fine singing from him..."
Mark Ronan, The Article
"Dingle Yandell was in luxurious voice as Theseus."
Benjamin Poore, OperaWire
Bach: Mass in B Minor / Sir John Eliot Gardiner's 80th Birthday Celebration Tour
Monteverdi Choir - English Baroque Soloists, April 2023
The swerve from bass Dingle Yandell’s wonderful Quoniam tu solus Sanctus, with excellent asides from Anneke Scott’s French horn, to a sprint-like Cum Sancto Spiritu was thrilling.
Neil Fischer, The Times ★★★★★
Thérèse (André Thorel)
Scottish Opera, September 2022
Dingle Yandell’s baritone wins the prize for sheer vocal beauty, a voice that is honey-smooth and chocolaty sweet.
Simon Thompson, The Times ★★★★
...despite the absence of a large-scale production surrounding them, Justina Gringytė, Dingle Yandell and Shengzhi Ren embody these three characters as if their lives depended on it...On a stage laden with talent, special mention goes to Yandell – when he sings, everything else in the world melts away, and there is only his voice.
Kelly Apter,The Scotsman ★★★★★
Dingle Yandell scored impressively as André, an ultra-smooth bass-baritone with a generous fireside crackle to his voice...
Ken Walton, Opera Magazine
...bass-baritone Dingle Yandell as André and tenor Shengzhi Ren negotiating the at times perilously high vocal writing of Armand.
Rowena Smith, The Guardian ★★★★
La bohème (Colline)
Nevill Holt Opera, June 2022
Dingle Yandell captures both the social awkwardness and offbeat humour of the philosopher Colline. His bass-baritone is extremely assertive and impressive and his performance of ‘Vecchia zimarra’ one of the undoubted highlights of the evening.
Sam Smith, Music OMH ****
Dingle Yandell’s Colline [...] seizing his opportunity with his Coat Song, a significant marker in the downwards emotional spiral of the final scene.
George Hall, The Stage ****
Peter Scott Drackley’s Rodolfo, Christopher Nairne’s Marcello and Dingle Yandell’s Colline are all strong. This is a team of excellent young singers sensitively working together, and they make the finale truly moving.
Lorien Haynes, The Telegraph
Bach's St John Passion (Jesus)
Academy of Ancient Music, Barbican Centre, April 2022
The further into the narrative we reached, the deeper Dingle Yandell’s Christus impressed with his warmth, nobility and well-rounded voice.
Geoff Brown, The Times ****
...the outstanding Jesus of Dingle Yandell
Richard Fairman, The Financial Times ****
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