News & Future Projects

There are lots of new roles and adventures for next year including Ruprecht in Prokofiev's The Fiery Angel and Golaud in Debussy's Pelleas et Melisande. Details will appear here soon!

Theatre of the World in LA and Amsterdam


A co-production between Dutch National Opera and the LA Philharmonic, this is the ambitious new "Grotesque Stagework in 9 scenes" by Louis Andriessen, telling a Faustian story about Athanasius Kircher. The director is Pierre Audi while the sets and video projection are by the Quay brothers and the orchestra is the Asko|Schönberg ensemble.


The world premiere was in LA on Friday 6th May, with further performances in Amsterdam during the Holland Festival.


More information is here and here

Jumping in as Wozzeck at the

Royal Festival Hall & Zurich Opera


"Advertised to London as a star vehicle for the baritone Christian Gerhaher, Wozzeck was instead a triumph of ensemble and nerve. Stepping in for Gerhaher at 24 hours’ notice, Leigh Melrose gave a sensational performance of the title role: tense, taut, harried and bullied by the random rattling interrogations of his superiors. If you’re going to be an outsider, this is the role to be an outsider in."


The Times, 5th October 2015



"In short, Melrose triumphed in a magnificently all-embracing portrayal in one of the most dramatic concert performances of an opera that I’ve experienced..."



"The loss of Gerhaher turned out to be no loss at all. Indeed, although I was certainly curious to hear what a voice of such beauty would have made of the role, I cannot believe that the dramatic achievement of Leigh Melrose’s portrayal could possibly have been superseded. Melrose’s Wozzeck in English remains unforgettable, like much else from ENO’s brilliant Carrie Cracknell production. Here, he showed that, in the original language, his match of verbal and musical acuity with first-class acting – yes, although this was a ‘concert’ performance, much of what we saw as well as heard was in character – could, if anything, penetrate still deeper. Much nonsense has been spoken, probably more often written, about Fischer-Dieskau’s allegedly too ‘intellectual’ assumption of the role. One needs a mind to be able to understand and to communicate the darkest, most profound reaches of Berg’s – and of Wozzeck’s. This Wozzeck was as thoughtful and as sensitive as he was downtrodden and, ultimately, angered."


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