Omar Ebrahim


"That ever-remarkable baritone Omar Ebrahim, always sensitive to text, had chilling authority"

Fiona Maddocks, Observer

"The heft and robustness of Omar Ebrahim’s baritone gives his performance of the Office an oddly noble solemnity that feeds directly into the work’s profoundly ironic character"

Christopher Ballantine, Opera Magazine

"The star is Omar Ebrahim."

Richard Morrison, The Times

"Omar Ebrahim, giving a masterclass to the rest of the cast in a characterful and focused portrayal"

Keith Potter, Opera Magazine

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Omar Ebrahim began singing as a chorister at Coventry Cathedral and went on to study voice at the Guildhall School of Music and Drama. He served his performing apprenticeship at the Royal Shakespeare Company and Glyndebourne. He has been associated with many new music projects including The Electrification of the Soviet Union by Nigel Osbourne and Birtwistle’s The Second Mrs Kong for Glyndebourne Festival Opera, and Berio’s Un Re in Ascolto and Birtwistle’s Gawain for the Royal Opera House. He appeared in Liza lim’s opera The Navigator at the festivals in Brisbane and Melbourne and gave first performances of Enno Poppe’s concert and opera collaborations with Marcel Beyer - Interzone, Arbeit Nahrung, Wohnung and IQ - at the Berlin festival, Munich Biennale and Schwetzingen.

In exploring the connection between spoken word and song, he has helped recreate the sound worlds of Frank Zappa (Ensemble Modern, The Adventures of Greggary Peccary) and Blade Runner with the Heritage Orchestra. Other text led projects include Morton Feldman’s Words and Music and Frank O’Hara Songs with the Ensemble Recherche, King Gesar by Peter Lieberson for Munich Biennale. He is also closely associated with Ligeti’s Aventure et nouvelles Aventures. He has performed and recorded In the Penal Colony by Phillip Glass, Michael Nyman’s Facing Goya, Kris de foort’s House of the sleeping Beauties and John Harle’s ballad opera Jamie Allan.

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

Schoenberg in Hollywood

Boston Lyric Opera (November 2018)

Ebrahim wholeheartedly gave himself to the lead role, with the character’s stiff, self-conscious affects eroding to reveal a wicked glimmer of humor. The baritone’s robust voice was expressive

Zoë Madonna, Boston Globe

Omar Ebrahim plays an intense Schoenberg who switches his accent to suit the projected film at the time.

Ivy Li, The Tech

The performing forces were small but potent: Baritone Omar Ebrahim was a forceful presence as Schoenberg

Heidi Waleson, Wall Street Journal

The excellent three-person cast was headed by Omar Ebrahim’s superb Schoenberg

Angelo Mao, Opera News Vol. 83, No. 6

Omar Ebrahim made a believable Schoenberg, inhabiting the composer’s emotional and psychological states with conviction

Karl Charna Lynn, Opera Now

Marriage of Figaro (Dr Bartolo)

English Touring Opera (March 2018)

Omar Ebrahim (Bartolo), John-Colyn Gyeantey (Basilio) and Stuart Haycock (Don Curzio) assumed their roles with considerable style

Yehuda Shapiro, Opera Magazine

spirited caricatures from...Omar Ebrahim (Bartolo)...keep the fun bubbling

Richard Morrison, The Times

Secondary roles are nicely sketched in...Omar Ebrahim a redoubtable Bartolo

George Hall, The Stage

Committee... (Alan Yentob)

Donmar Warehouse

Genuine fervour and compunction fight it out with name-dropping pomposity in Omar Ebrahim’s beautifully sung Yentob

Paul Taylor, The Independent

Omar Ebrahim’s Yentob is amusingly tetchy, and his noble baritone makes the character’s bursts of self-importance especially droll

Henry Hitchings, The Evening Standard

Omar Ebrahim is delicious fun in the role, segueing smoothly from patronising defence lawyer mode into full aria

Marianka Swain,

Yentob (an exceptional Omar Ebrahim, who suggests a man utterly entranced by himself and the sound of his own glorious baritone, who feels absolutely no contrition whatsoever)

Georgina Brown, Daily Mail

The Suppliant Women

Actors Touring Company (Autumn 2016)

Omar Ebrahim gives a beautifully inflected, heartfelt performance as Danaus, the women’s father and spokesperson.

David Kettle, theartsdesk

the gifted individual performances of Oscar Batterham’s King or the Danaus of Omar Ebrahim

Simon Thompson, What's on Stage

The professional actors, Oscar Batterham, Omar Ebrahim and Gemma May are all extremely well cast. In particular Omar Ebrahim, as the father figure Danaus, has a hugely expressive voice and really exploits the rhythmic nature of the verse.

S.E. Webster, The Reviews Hub Scotland

Penderecki St Luke Passion, London Philharmonic Orchestra

Royal Festival Hall (March 2017)

Omar Ebrahim’s spoken Latin narrative…provided the weight and solemnity which feeds directly into centuries of sacred works, just as Penderecki intended it should.

Cara Chanteau, The Independent

as the speaking narrator, Omar Ebrahim – delivered terrific intensity.

Richard Morrison, The Times

Omar Ebrahim was urgent and impassioned in the spoken role of the Evangelist.

Barry Millington, The Evening Standard

Omar Ebrahim…followed Jurowski’s example in keeping up the dramatic pressure so effectively it had me wondering if this Passion might not be a candidate for being staged.

Peter Reed, Classical Source

The Narrator (A Flowering Tree)

Göteborg Opera (February 2015)

Omar Ebrahim was a figure of great dignity and gave us a lyrical baritone and clear enunciation of the text. His singing was particularly gripping as his voice echoed with the horror of Kumudha's mutilation.

Niklas Smith, Seen and Heard International

Omar Ebrahim’s ability to soar and float on the longer melodic phrases created a real sense of beauty as both music and time appeared to stand still.

Magnus Haglund, GP


Grand Theatre Luxembourg

Omar Ebrahim, giving a masterclass to the rest of the cast in a characterful and focused portrayal.

Keith Potter, Opera Magazine

Tongue of the Invisible – Liza Lim

Musik Fabrik Recording on WERGO (Oct 2013)

Baritone Omar Ebrahim needs to be heard to be believed—his is an astounding performance, demonstrating that love poetry can pack one hell of a punch.

Julius Fucik, London Philharmonic Orchestra

Royal Festival Hall

Omar Ebrahim’s Fucik, hounded by a handheld searchlight… Chilling and effective.

Richard Morrison, The Times

Omar Ebrahim offered an excellent performance. This excellent account, antiphonal drumming and all, exuded brutality, psychoticism, and yet inviting, spellbinding beauty.

Mark Berry, Boulezian Blog

In the Penal Colony

Music Theatre Wales

That ever-remarkable baritone Omar Ebrahim, always sensitive to text, had chilling authority as the Officer.

Fiona Maddocks, Observer

Omar Ebrahim's powerful and emotive Officer

Kenneth Walton, The Scotsman

Omar Ebrahim put flesh and blood on the blinkered Officer

Andrew Clark, Financial Times

Omar Ebrahim excels as the Officer

George Hall, The Stage

Omar Ebrahim, who sings The Officer, is extremely experienced in contemporary music theatre. His vocal range is prodigious, though not used here where the monotony of the music is part of the plot. Nonetheless, Ebrahim brings surprising lyricism to the part. Some passages shimmer with the fervour of Bach

Anne Ozorio, Opera Today

The heft and robustness of Omar Ebrahim’s baritone gives his performance of the Office an oddly noble solemnity that feeds directly into the work’s profoundly ironic character

Christopher Ballantine, Opera Magazine

Omar Ebrahim’s Repertoire


Samuel Hand of Bridge


Un Re in Ascolto (Singer)


Words and Music


Gawain (Fool)
Mask of Orpheus (Aristaeus II)
Punch and Judy (Punch)
The Second Mrs. Kong (Vermeer)
Yan Tan Tethera


Carmen (Escamillo)





Dove / Feldman

Siren Song


The Raft of the Medusa


King Gesar (Narrator)


Aventures, Nouvelles Aventures


Don Giovanni (Don Giovanni)

Le Nozze di Figaro (Bartolo)


Beauty and the Beast (Beast)


Nigel Hell's Angels
Terrible Mouth
The Electrification of the Soviet Union (Serezha)


La Boheme (Schaunard)


A Survivor from Warsaw
Ode to Napoleon


Sweeney Todd (Tobias)

J. Strauss

Die Fledermaus (Orlofsky)

R. Strauss

Enoch Arden


Iolanthe (Strephon)


King Priam (Hector)
New Year (Donny)
The Knot Garden


Macbeth (Macbeth)

Von Bose

63 Dream Palace (Parkurst)


Mahagonny Songspiel
The Rise and Fall of the City of Mahogonny (Bill)

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