Michael Mofidian


"Bass-baritone Michael Mofidian’s Jesus had thunderous clarity."

Michael Church, The Independent

"Michael Mofidian, surely one to watch, as an imposing Alcade …"

Roger Parker, Opera

"…bass-baritone Michael Mofidian was a superb, strutting Minotaur who sang comparatively little yet dominated the action."

Mark Valencia, Bachtrack

"Bass-baritone Michael Mofidian thrilled to the depths with songs themed around isolation; he possesses a voice of maturity and weight."

Amanda-Jane Doran, colinscolumn.com

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Winner of the 2018 Royal Over-Seas League Singers’ Prize and the 2017 Pavarotti Prize, Michael Mofidian was born and raised in Glasgow, and educated at the University of Cambridge and the Royal Academy of Music.

A Jette Parker Young Artist at the Royal Opera House, Covent Garden from 2018-2020 roles included Narumov Queen of Spades, Alcade Forza del destino, Angelotti Tosca, Zuniga Carmen, Minotauros Phaedra (Linbury Studio Theatre), Johan Werther, Bass 1 Death in Venice, Dr Grenvil La Traviata, Judge and Chelsias Susanna and Deputy Don Carlo as well as covering the roles of Figaro Le nozze di Figaro and Colline La bohème. Whilst there he worked under conductors including Sir Tony Pappano, Edward Gardner, Alexander Joel, Julia Jones and Keri-Lynn Wilson.

In 2018 he was a Jerwood Young Artist for Glyndebourne Festival where roles included the Doctor in Pelléas et Mélisande and the Imperial Commissioner in Madam Butterfly.

Recent engagements have included a return to the Royal Opera House, Covent Garden for Masetto Don Giovanni, soloist at First Night of the Proms with the BBC Symphony Orchestra performing Vaughan Williams’s Serenade to Music and a World Premiere by James MacMillan, and first night of the Edinburgh International Festival for Stravinsky’s Pulcinella. He also made his Salzburg Festival debut as Angelotti Tosca alongside Anna Netrebko, Yusif Eyvazov and Ludovic Tézier.

For the 21/22 season and beyond he will sing Don Alfonso Così fan tutte for Scottish Opera at the Lammermuir Festival, a number of roles for Geneva Opera where he will take residence for a year, Thesus A Midsummer Night’s Dream for Rouen Opera, a return to the Royal Opera House Covent Garden as a guest and a role at the 2023 Glyndebourne Festival. He will also make his debut with Accademia Nazionale di Santa Cecilia under Sir Tony Pappano for a performance and recording of Turandot (Mandarin).

Concert work has included Verdi Requiem; Jesus, Pilate and arias in both Bach Passions; Haydn Creation; Handel Messiah; Stravinsky Les noces; Beethoven 9th Symphony; Mozart Requiem; Fauré Requiem; and Dvořák Stabat Mater and last season Mahler Kindertotenlieder with Britten Sinfonia under Sir Mark Elder.

Michael was a joint winner of the 2017 Oxford Lieder Young Artist Platform and has given recitals for the Wigmore Hall, Oxford Lieder, Leeds Lieder, St John’s Smith Square London, Queen’s Hall, Edinburgh for the Edinburgh Fringe and at City Halls in Glasgow for a BBC broadcast performing with pianists Keval Shah, Jâms Coleman, Sholto Kynoch and Malcolm Martineau. He returns to the Wigmore Hall for a recital of Sibelius and Mahler.

Michael is also a composer; his works include pieces for orchestra, instrumental chamber music, art songs and works for vocal ensemble, and his teachers have included Sir James MacMillan, Richard Causton and Robin Holloway.

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

Williams' Serenade & Macmillan's When Soft Voices Die (premiere)

First Night of the Proms, Royal Albert Hall (August 2021)

Michael Mofidian’s pitch-dark bass, […] delivered Shelley’s words eloquently.

Erica Jeal, The Guardian

Mozart's Don Giovanni, Masetto

Royal Opera House (July 2021)

Michael Mofidian’s excellent bass is heard to good effect as Masetto.

Richard Fairman, Financial Times

… complemented by the fine bass Michael Mofidian as Masetto.

Colin Davison, British Theatre Guide

…fine singing from both Zuzana Marková and Michael Mofidian.

Claire Seymour, Opera Today

Brahms' Four Serious Songs & Schubert's Die schöne Mullerin

with Jams Coleman, Leeds Lieder (April 2021)

The four songs are serious indeed, and Mofidian and Coleman gave us a serious, intent performance. Mofidian's voice has a dark chestnut quality to it which impelled the music into deep territory and for all his relative youth there was something Old Testament Prophet about his performance.

… it was Mofidian who movingly brought the cycle to a close singing the stream's lullaby to the young man, bleak and infinitely sad.

Robert Hugill, Planet Hugill

Recital for BBC Radio 3

with Julia Lynch (piano), City Halls Glasgow (July 2020)

Bass-baritone Michael Mofidian thrilled to the depths with songs themed around isolation; he possesses a voice of maturity and weight.

Amanda-Jane Doran, colinscolumn.com

Mofidian, of Iranian descent but born and bred in Glasgow, has an immense, dark-hued voice that’s even-toned from top to (very deep) bottom. A lifetime of playing dying tsars in epic Russian operas clearly awaits him, should he really want it.

Richard Morrison, The Times

Handel's Susanna, Chelsias

Royal Opera House Linbury Theatre (March 2020)

Michael Mofidian, as Susanna’s father Chelsias, and Blaise Malaba, as one of the seedy Elders, both impress with their weighty bass roles.

Stephen Pritchard, The Observer

Michael Mofidian and Patrick Terry are outstanding as Chelsias and Joachim …

Barry Millington, The Evening Standard

…Michael Mofidian as Chelsias, and Yaritza Véliz as Daniel gave notice of impressive bass and mezzo voices respectively.

Richard Fairman, The Financial Times

…the Scottish-Iranian bass, Michael Mofidian excels as her [Susanna’s] father, Chelsias.

Martin Kettle, The Guardian

…especially notable … Michael Mofidian’s firm Chelsias…

George Hall, The Stage

Two singers stood out as the finished Handelian article., both with professional careers in this repertory already assured, indeed already taking place. Michael Mofidian (Chelsias) was sadly underused: Handel gave him just two arias to bookend the evening; but the quality of the bass was never in doubt, and the ease with which such a big voice negotiated the florid passages was altogether remarkable. More Handel please, Mr Mofidian!

Roger Parker, Opera

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