Robin Blaze


"Robin Blaze produces a gloriously bell-like radiance"


"Blaze is an extraordinary interpreter…I don't think I've ever heard such a seductive, limpid beauty of tone that has so much emotion behind it"

BBC Radio 3 CD Review

"There’s a winning artless quality in Blaze’s singing, which is very welcome in a field of music-making that can often seem a bit precious"

The Telegraph

"There was counter-tenor magic from Robin Blaze"

The Times

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Established in the front rank of interpreters of Purcell, Bach and Handel, Robin Blaze's career has taken him to Europe, South America, North America, Japan and Australia. He has worked with most of the distinguished conductors in the early music field - Christophers, Cleobury, Gardiner, Herreweghe, Hogwood, Jacobs, King, Koopman, Kraemer, Leonhardt, McCreesh, McGegan, Mackerras, Pinnock and Suzuki, and has visited festivals in Ambronay, Beaune, Boston, Edinburgh, Halle, Iceland, Jerusalem, Innsbruck, Karlsruhe, Leipzig, Lucerne, Saintes and Utrecht. He has regularly appeared with The Academy of Ancient Music, Bach Collegium Japan, Collegium Vocale, The English Concert, and The Gabrieli Consort.

With a large number of acclaimed recordings to his name, Robin has enjoyed fruitful relationships with BIS and Hyperion records. For BIS he was the countertenor soloist on the vast majority of Bach Collegium Japan’s complete cycle of Bach’s church cantatas, and joined Carolyn Sampson for a disc of Handel Oratorio Duets with the Orchestra of the Age of Enlightenment and Nicholas Kraemer. His projects with Hyperion have included recital discs of lute songs with Elizabeth Kenny, Byrd Consort Songs and Salve Regina, a programme of Italian Cantatas with The Parley of Instruments.

Recent highlights include Bach’s St John Passion with the Royal Liverpool Philharmonic Orchestra, Bach’s Christmas Oratorio with the Minnesota Orchestra and the Copenhagen Philharmonic Orchestra, Purcell Odes at the Berlioz Festival with The King’s Consort, Bach’s B Minor Mass with The Bach Choir, Handel’s Messiah with the Indianapolis Symphony Orchestra and the Orchestre Symphonique de Montréal, Bach’s Magnificat with La Chapelle Harmonique, performances of Bach Cantatas and Pergolesi’s Salve Regina with Florilegium at Wigmore Hall, a recital with world-renowned lutenist Elizabeth Kenny at Carnegie Hall, and Robin also continues his collaboration with the BCJ with concerts in Japan and in Europe.

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

Bach B minor Mass, The Bach Choir

Royal Festival Hall (February 2020)

Countertenor Robin Blaze has an incisive yet rounded upper register that made the first notes of Bach’s extraordinary ‘Agnus Dei’ heart-stopping in its beauty.

Benjamin Poore, MusicOMH****

Robin Blaze summed up what was a great contribution throughout with the a very moving ‘Agnus Dei’: he draws you into this private communication superbly.

Kevin Rogers, Classical Source

Handel Messiah, English Chamber Orchestra, Leeds Town Hall

(December 2019)

Tritschler and the leaner timbre of counter tenor Robin Blaze were finely balanced in the duet O Death, Where is Thy Sting?

Geoffrey Mogridge, Ilkley Gazette

Bach Christmas Oratorio, Minnesota Orchestra

(December 2018)

The English countertenor Robin Blaze made fluid contributions.

Terry Blain, Minnesota Star Tribune

Odes to St Cecilia: Purcell, Britten & Handel, The King’s Consort

(November 2018)

…with fine singing from the soloists, soprano, Julia Doyle, countertenor, Robin Blaze and Joshua Ellicott, tenor.

Frank Cliff, Eastern Daily Press

Bach Secular Cantatas Vol 10, Bach Collegium Japan, BIS-2351

(August 2018)

Robin Blaze – representing the allegory of ‘good fortune’ – lightly glides through his picture of unequivocal goodwill with customary panache.

Jonathan Freeman-Attwood

Bach Magnificat & Bekennen will ich seinen Namen

Bach Collegium Japan, Barbican, London (April 2016)

Bekennen will ich seinen Namen, a single, emollient aria beautifully delivered here by countertenor Robin Blaze alongside the duetting violins of Ryo Terakado and Yukie Yamaguchi, with Suzuki on chamber organ.

Erica Jeal, The Guardian

For the consoling “Bekennen will ich seinen Namen”, all that survives of cantata BWV200, mellifluous countertenor Robin Blaze sang to an accompaniment of two violins and continuo, but it proved enough to fill the hall. How well the risk paid off.

Richard Fairman, Financial Times

I was transported by the loveliness of the flute solo and captured by the debonair way in which countertenor Robin Blaze delighted us with how “the Lord hath filled the hungry with good things”... Blaze showed timbre that was naturally warm and expressive.

David Karlin,

In the cantata “Bekennn will ich”, Robin Blaze’s sweetly assertive falsetto benefited from the even further miniaturised orchestra: two violins, cello and Suzuki at the chamber organ.

Nick Kimberley, Evening Standard

The duetting of countertenor Robin Blaze and tenor Colin Balzer in the “Et Misericordia” of theMagnificat was a delight.

Sebastian Scotney, The Arts Desk

The ‘Agnus dei’, transcribed from Cantata ‘Lobet Gott in Seinen reichen’ BWV 11 in G minor, was excellently sung/phrased by countertenor Robin Blaze who achieved an impressive dialogue with the conductor.

Geoff Diggines, Seen and Heard International

Purcell Songs Realised by Britten

Champs Hill CHRCD106 (June 2016)

‘Sweeter than Roses’, another of Britten’s more interventionist settings, is lovingly treated by countertenor Robin Blaze.

Richard Fairman, Gramophone

Bach Secular Cantatas

Bach Collegium Japan, Bach Complete Works Volume 6 / BIS (May 2016)

Robin Blaze produces a gloriously bell-like radiance…One cannot find but solace and satisfaction in the assuaging dialogues of Carolyn Sampson and Robin Blaze.

Jonathan Freeman-Attwood, Gramophone

Handel Messiah, Pittsburgh Symphony

Heinz Hall (December 2015)

Counter-tenor Robin Blaze made a superb symphony debut in “Messiah.” His voice is both agile and very well centered and made his arias, such as “But, who may abide” and “He was despised,” high points of the evening. He was also a superb partner with Appleby in the duet “Death, where is thy sting?

Mark Kanny,

Bach St John Passion

Brecon Baroque Festival, Brecon Cathedral (October 2015)

Only the soprano, Alison Hill, and alto, Robin Blaze, were confined to their arias: both so good that one waited eagerly for their reappearances, strictly rationed by Bach.

Stephen Walsh,

Robin Blaze Concert


The Lover in Winter


B minor Mass
Christmas Oratorio
Cantatas (All)
Lutheran Masses
St Matthew Passion
St John Passion




Membra Jesu


Exultate Deo


Amo Christum
Ave Maris Stella


Belshazzar (Daniel)
Esther (Priest/Ahashverosh)
Israel in Egypt


Jesu, Dulcis Memoria


Iam Moriar


Carmina Burana


Salve Regina
Stabat Mater


Ode for St Cecilia's Day


Cum Invocarem


Salve Regina

Robin Blaze Opera


A Midsummer Nights Dream (Oberon)


Giulio Cesare (Tolomeo)
Jeptha (Hamor)
Orlando (Medoro)
Ottone (Adalberto)
Rodelinda (Bertarido)
Semele (Athamas)
Teseo (Arcane)
Theodora (Diddymus)
Xerxes (Asrsmenes)


Il ritorno d'Ulisse in patria (Umana fragilitá/Anfinomo)


Dido and Aeneas (Sorceress)
The Fairy Queen (Mopsa)

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