Matthew Brook

Bass-baritone

"Matthew Brook, who turns anything he sings to gold"

Stephen Pritchard, The Guardian

"Mathew Brook was outstanding. His firm, well-focused voice was ideally suited to the music and his diction was impeccable."

John Quinn, Seen and Heard International

"Matthew Brook’s arias were rare gems of poignant phrasing rested in dramatic accuracy"

Australian Stage

"The monster Polypheme in a monstrously satisfying performance by Matthew Brook: one of the most compelling giants on disc"

BBC Radio 3 CD Review

"Matthew Brook’s virile bass is outstanding"

The Times

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Matthew Brook leapt to fame with his 2007 Gramophone Award-winning recording of Handel’s Messiah with the Dunedin Consort, followed by equally critically acclaimed recordings of Acis and Galatea and St Matthew Passion. He has appeared as a soloist throughout Europe, Australia, North and South America and the Far East, and has worked with many of the world's leading conductors. He is now considered one of the finest singers of his generation.

This season, Matthew sings his recital programme with Iain Burnside titled View from the Villa at the Lammermuir Festival, Handel’s Messiah with Music of the Baroque in Chicago, and also on tour in Europe with the Academy of Ancient Music, the role of Pilate in Bach’s St John Passion with Les Violons du Roy in Quebec, and the role of Lodovico in Otello for Grange Park Opera.

Recent highlights include the role of Aeneas in the world premiere of Errollyn Wallen’s Dido’s Ghost co-commissioned by the Dunedin Consort, Purcell’s The Fairy Queen and Dido and Aeneas with the Handel and Haydn Society, Haydn’s Creation and Mendelssohn’s Elijah with the City of Birmingham Symphony Orchestra, Il Re di Scozia Ariodante with the Staatstheater Stuttgart, Argante Rinaldo with Ópera de Oviedo, Claudio Agrippina at Teatro de la Maestranza, a tour of Bach cantatas with the Monteverdi Choir, Elgar’s The Dream of Gerontius with the Indianapolis Symphony Orchestra, Tippett’s A Child of Our Time at Festival St Denis, and the roles of Herod and Father in Berlioz’s L’Enfance du Christ with the Melbourne Symphony Orchestra and Sir Andrew Davis.

This biography is for information only and should not be reproduced.

Wallen Dido’s Ghost (Aeneas), Dunedin Consort

Barbican (June 2021)

Dido's Ghost will certainly be welcomed by all singers who have craved the limelight denied to them in the under-characterised original role of Aeneas. Written here for the compelling bass-baritone Matthew Brook, the part is fleshed out to the extent that he even gets the celebrated Lament.

John Allison, The Telegraph

Aeneas himself, Dido-obsessed, clearly needs a psychiatrist, but at least the character finds some succour singing Purcell’s heart-aching setting of Dido’s lament, “When I am laid in earth”. As movingly rendered by Matthew Brook, this was the evening’s peak: the one point where the audience’s emotional involvement could be guaranteed.

Geoff Brown, The Times

…the emotional shell of Aeneas, superbly portrayed and sung by the bass baritone Matthew Brook.

Fiona Maddocks, The Guardian****

But it’s Matthew Brook’s Aeneas who carries the piece. The feckless charmer of Purcell’s origin here becomes wiser and sadder – finally a man worthy of the Lament, which he delivers with heart-stopping vulnerability and tenderness. “Remember me,” he sings. And we will.

Alexandra Coghlan, iNews

…the focus was on Matthew Brook’s Aeneas, his firm baritone successfully setting the path for Rome’s foundation but now completely haunted by regret of a lost love and the shame of his behaviour… Phrases from Dido’s Lament were scattered, but in the end it was Aeneas who got the aria, sung movingly as a broken man, a touch of falsetto here and there, Dido’s ghost and Anna both gone… While it was intriguing to see a Baroque band embracing modern styles, it was the intense commitment of the singers which made this dramatic work so compelling.

David Smythe, Bachtrack****

…there are memorable performances from the strong central cast, with standouts from … Matthew Brook’s conflicted Aeneas”

George Hall, The Stage

Matthew Brook was powerfully affecting as the obsessed Aeneas…

Ivan Hewett, Opera Magazine

CD: Purcell Odes, The King’s Consort, VIVAT121

(February 2021)

King has assembled another crack team of singers… the rampant testosterone of the duet ‘Her hero to whose conduct’ by [Edward] Grint and Matthew Brook”

Gramophone

In ‘Welcome Glorious Morn’ we reach a higher musical level. Both Carolyn Sampson and Matthew Brook suavely maintain their lines against the ingenious but busy aria accompaniments…

BBC Music Magazine

​ Handel Agrippina (Claudio), Teatro de La Maestranza

(February 2020)

In addition, among vocal soloists, there is a barrage of specialists in the repertoire such as …Matthew Brook

Ismael G. Cabral, Ópera Actual

Handel Samson (Manoah), Dunedin Consort, [Linn CKD 599]

(October 2019)

As Samson’s father Manoah, Matthew Brook field a ripe yet agile bass. His Chastened tenderness in ‘How willing my paternal love’ is profoundly moving.

Richard Wigmore, Gramophone

The intention of this style of oratorio was a moral one, there was a story to tell, a point to make and words are essential. But Brook seems to have the gift in spades, and his way of combining text and music is masterly and makes even his recitatives powerfully expressive tools. Yet he can also bring a virile swagger to the music when needed as well!

Robert Hugill, Planet Hugill

The two basses also look good, and we find with great pleasure Matthew Brook, moving Manoa whose singer perfectly translates kindness and nobility. His air "How willing my paternal love" will be among the highlights of this recording.

Pierre Degott, ResMusica

​ Mendelssohn’s Elijah, City of Birmingham Symphony Orchestra

Symphony Hall Birmingham (November 2019)

Matthew Brook’s imposing delivery of this short solo suggested that he would be a prophet to be reckoned with, and so it proved. Though there wasn’t anything approaching a weak link in this performance, Brook’s assumption of the title role was outstanding... Brook was full of fiery righteousness in his denunciation of King Ahab and then he dared the followers of Baal to summon up their false god. His rendition of ‘Lord God of Abraham’, sung with seamless line and ample reserves of tone, was a highlight of the evening, but within a few minutes Brook was able effortlessly to change the mood again for a thrilling account of ‘Is not his word like a fire?’ which was marvellously articulated at the blistering pace set by Kazuki Yamada. In Part II we heard an outstanding rendition of ‘It is enough’ … Brook made this into a dignified, lyrical envoi, setting the seal on his memorable performance.

John Quinn, Seen and Heard International

Matthew Brook Opera Repertoire

Bernstein

A Quiet Place (Young Sam)

Bizet

Carmen (Zuniga)

Britten

Albert Herring (Vicar)
Noye’s Fludde (Noye)
Peter Grimes (Ned Keene)

Handel

Acis and Galatea (Polyphemus)
Ariodante (Il Re)
Apollo et Dafne (Apollo)
Imeneo (Argenio)
Jephtha (Zadok)
Tolomeo (Eraspe)

Janáček

Jenufa (Starek) (Mayor)

Menotti

Amahl and the Night Visitors (Melchior)

Monteverdi

L'incoronazione di Poppea (Seneca)

Mozart

Don Giovanni (Leporello)
Le nozze di Figaro (Figaro)
Die Zauberflöte (Papageno)

Purcell

Dido and Aeneas (Aeneas)
The Indian Queen (Ismeron)

Puccini

Tosca (Sacristan)

Rameau

Anacréon (Anacréon)
Castor et Pollux (Jupiter)

Sullivan

Trial by Jury (Counsel)
Ivanhoe (Friar Tuck)

Tchaikovsky

Eugene Onegin (Onegin) (Zaretsky)

Vaughan Williams

The Pilgrim’s Progress (John Bunyan) (Lord Hategood) (Watchful)(Obstinate) and (First Shepherd)

Walton

Troilus and Cressida (Antenor, Calkas)

Weber

Der Freischütz (Kuno)

Matthew Brook Concert Repertoire

Bach

Magnificat including interpolations
Masses in A, G, and F
B Minor Mass
St John Passion
St Matthew Passion
Christmas Oratorio
Easter Oratorio
Cantatas including numbers: 13, 18, 27, 32, 52, 56, 62, 66, 70, 78, 82, 85, 106, 110, 132, 140, 150, 151, 152, 158, 161, 164, 165, 182, 211

JC Bach

Wie bist du den O Gott

Buxtehude

Jesu membra nostre

Beethoven

Mass in C
Choral Symphony

Berlioz

L’Enfance du Christ (all bass/baritone roles)

Blow

God spake sometime in visions

Blake

Benedictus

Brahms

Liebeslieder Waltzes
Requiem

Britten

Cantata Misericordium

Burgon

The fall of Lucifer

Carissimi

Jephte

Charpentier

Caecilia Virgo
Elevation
Mass
Te Deum

Dvorak

Mass in D
Requiem
Stabat Mater
Te Deum

Dyson

Canterbury Pilgrims

Elgar

Apostles
Dream of Gerontius
The Kingdom

Faure

Requiem

Finzi

In terra pax
Let us garlands bring
Lo the full final sacrifice

Grieg

Four Psalms

Grier

Around the curve of the world

Handel

Acis and Galatea
Alexander’s Feast
Apollo et Dafne
Dixit Dominus
Esther
Israel in Egypt
Judas Maccabeus
Messiah
Samson
Sing unto the Lord
Utrecht Te Deum

Haydn

Creation
Harmony Mass
Heilige Messe
Maria Therese Mass
Nelson Mass
Pauken Mass
St Nicholas Mass
Seasons

Howells

Requiem

Janacek

Glagolitic Mass
Unvollendete Messe

Joubert

The Magus

Kodaly

Te Deum

Maunder

Olivet to Calvary

Mendelssohn

Elijah
Walpurgisnacht

Mozart

Missa Brevis
Mass in C Minor
Mass in C
Regina Coeli
Requiem Vespers

Monteverdi

Vespers
Book IV Madrigals

Nielsen

Symphony No. 3

Purcell

In guilty night
Ode to St Cecilia
Come ye sons of art

Anthony Powers

Air and Angels

Orff

Carmina Burana

Puccini

Messe di Gloria

Rameau

In convertendo
Thetis

Rossini

Stabat Mater
Petite Messe Solenelle

Stainer

Crucifixion

Schütz

Christmas Story

Stravinsky

Canticum Sacrum
Pulcinella

Tippett

A child of our time

Vaughan Williams

Benedicite
Dona nobis pacem
Sancta Civitas
Fantasia on Christmas Carols
5 Mystical Songs

Walton

Belshazzar’s Feast

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