Michael Mofidian

Bass-baritone

"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 2021 with the BBC Symphony Orchestra performing Vaughan Williams’s Serenade to Music and a World Premiere by James MacMillan, first night of the Edinburgh International Festival for Stravinsky’s Pulcinella, Angelotti Tosca alongside Anna Netrebko, Yusif Eyvazov and Ludovic Tézier at Salzburg Festival, Don Alfonso Così fan tutte for Scottish Opera. He also made his debut with Accademia Nazionale di Santa Cecilia under Sir Tony Pappano for a performance and recording of Turandot (Mandarin) and returned to Salzburg Festival as Kuligin Káťa Kabanová in a Barrie Kosky production, conducted by Jakub Hrůša.

Future performances include Thesus A Midsummer Night’s Dream for Rouen Opera, Colline La Boheme at Royal Opera House, Masetto Don Giovanni Glyndebourne Festival, concerts with Halle Orchestra, Arcangelo Consort, Dunedin Consort and recitals including a programme of Brahms and Sibelius at Oxford Lieder Festival.

While in residence at the Grand Théâtre de Genève in the 21/22 season, Michael’s roles included Lord Rochefort Anna Bolena, Nourabad Les Pêcheurs de Perles, Pfleger des Orest Elektra, Maire Jenufa, Mandarin Turandot and Idas & Phobétor Atys, in a co-production with Château de Versailles.

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.

Le Maire (Jenůfa )

Grand-Théâtre de Genève, May 2022

Michael Mofidian et Céline Kot personnifient dignement le maire du village et sa femme.

Michael Mofidian and Céline Kot interpret the village's mayor and his wife with dignity.

Paul-Andre Demierre, Crescendo Magazine

"les voix belles et timbrées de [...] Michael Mofidian (le maire)"

The beautiful and warmly coloured voices of [...] Michael Mofidian (the mayor)

Charles Sigel, Forum Opera

On notera les prestations remarquées même si de courtes durées [...] de la basse Michael Modifian (le maire du village) dont le charme vocal ne cesse de nous plaire.

One particularly notices the short but significant performances [...] of bass, Michael Mofidian (the village mayor), whose vocal charm pleases us to no end.

Jacques Schmitt, Resmusica

LULLY Atys, Idas & Phobétor

Geneva Grand Theatre, Jeune Ensemble (March 2022)

Michael Mofidian (Idas / Phobétor) donne un charme particulier à la scène du sommeil d’Atys par son timbre profond et noir, son legato et sa longueur de souffle, apportant une noblesse à ses quelques phrases.

Michael Mofidian (Idas / Phobétor) gives a special charm to Atys' sleep scene with its deep, black timbre, legato and breath length, bringing nobility to his few sentences.

CJM, Olyrix

Parmi les autres rôles, on ne peut passer sous silence le baryton-basse Michael Mofidian (Idas/Phobétor/Un songe funeste) dont la voix profonde chargée d’harmoniques, timbrée à souhait, parfaitement conduite, la diction impeccable rappelle, dans un tout autre registre, l’admirable Samuel Ramey dont les murs de l’institution lyrique genevoise vibrent encore d’un souvenir vivace.

Among the other roles, we cannot ignore the bass-baritone Michael Mofidian (Idas/Phobétor/Un songe fatale) whose deep voice charged with harmonics, stamped at will, perfectly conducted, the impeccable diction recalls, in a completely different register, the admirable Samuel Ramey whose walls of the Geneva opera still vibrate with a vivid memory.

Jacques Schmitt, Res Musica

Bizet Les Pêcheurs de perles, Nourabad

Geneva Grand Theatre, Jeune Ensemble (December 2021)

De son côté, Michael Mofidian se révèle le plus intéressant des personnages, bien que le moins exposé de la distribution. Son Nourabad rayonne naturellement, avec solidité, sur une remarquable voix sombre. Comme ses collègues masculins de plateau, le Britannique offre une articulation et une diction claires, qui rendent le texte intelligible sans avoir à consulter les surtitres, ce qui n’est pas rien.

For his part, Michael Mofidian is the most interesting of the characters, although the least exposed of the cast. His Nourabad radiates naturally, with solidity, on a remarkable dark voice. Like his male set colleagues, the Briton offers a clear articulation and diction, which makes the text intelligible without having to consult the surtitles, which is not nothing.

Sylvie Bonier, Le Temps

…l’impeccable Michael Mofidian aux graves de bronzes dans “Sombres divinités”.

…the impeccable Michael Mofidian with bronze bass in "Dark Deities".

Charles Sigel, Forum Opera

On signalera aussi la belle prestation de Michael Mofidian en Nourabad aux graves percutants.

We will also mention the beautiful performance of Michael Mofidian in Nourabad with striking bass.

Claudio Poloni, Concerto Net

A ses côtés, la basse britannique Michael Mofidian (Nourabad) fait aussi preuve d’une belle tenue vocale ainsi que d’une impeccable prononciation de la langue française.

At his side, the British bass Michael Mofidian (Nourabad) also shows a beautiful vocal hold as well as an impeccable pronunciation of the French language.

Jacques Schmitt, Res Musica

Le quatuor vocal met en valeur l’élégant baryton-basse Michael Mofidian…

The vocal quartet showcases elegant bass-baritone Michael Mofidian…

Vincent Borel, Concert Classic

Charming, spry Michael Mofidian sounded fantastic as Nourabad, and brought lightness and good humour to every scene he was in.

Elodie Olson-Coons, Bachtrack

Michael Mofidian's Nourabad possesses the authority and peremptory declamation of the high priest.

Paul-André Demierre, Crescendo Magazine

Mozart Cosi fan tutte, Don Alfonso

Lammermuir Festival, Scottish Opera (September 2021)

Michael Mofidian, a puckish Don Alfonso (the game show host), and Catriona Hewitson, an agile all-purpose Despina, are class manipulators.

Ken Walton, The Scotsman

Donizetti's Anna Bolena, Lord Rochefort

Geneva Grand Theatre, Jeune Ensemble (October 2021)

…bass-baritone Michael Mofidian (Lord Rochefort), the Grand Théâtre de Genève integrates a very beautiful voice into its Jeune Ensemble.

Jacques Schmitt, Res Musica

In Lord Rochefort, the Scotser Michael Mofidian also manages to exist fully, with his robust bass-baritone instrument and this ability to fully enter the role of a bruised brother, ready, remaining proud and standing, to face death.

Pierre Géraudie, Olyrix

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

Michael Mofidian Repertoire

Michael Mofidian Complete Repertoire

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