News & Future Projects

Golaud at the Ruhrtriennale

 

"Die warme, unglaublich modulationsfähige Baritonstimme von Leigh Melrose verrät unterdrückte Aggression unter väterlicher Verantwortung..."

Frankfurter Allgemeine Zeitung, 21st August 2017

 

 

"Leigh Melrose ist ein vor gestauter Gewalt bebender Golaud von imponierender Stimmkraft"

Stuttgarter Zeitung, 19th August 2017

 

 

"Der Rollendebütant Leigh Melrose hat stimmlich und darstellerisch das Potential, das hinter Golauds Zuneigung, Leidenschaft und dem Besitzanspruch genau die Unbeherrschtheit und latente Gewaltbereitschaft aufblitzen lässt, die ihn so bedrohlich düster und zum Leben untauglich macht, wie hier."

neue musikzeitung, 20th August 2017

 

This summer was a role debut as Golaud in a new production of Pelleas et Mélisande by Krzysztof Warlikowski at the Ruhrtriennale. Barbara Hannigan was Mélisande and it was conducted by Sylvain Cambreling. Further information can be found here.

"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..."

classicalsource.com

 

 

 

 

Future plans!

 

Golaud comes back twice in the coming season: in a new production for Vlaamse Opera and Les Theatres de la Ville de Luxembourg, which features sets by prominent artist Marina Abramovic.

 

There is also a return to Teatro Real for their new productions of Britten Gloriana, staged by Sir David McVicar, and Zimmermann’s Die Soldaten directed by Calixto Bieito.

Further ahead there are role debuts at Teatro alla Scala and Wiener Staatsoper as well as returns for new productions at Dutch National Opera and Opernhaus Zürich. Details to follow!

"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made of the role, I cannot believe that the dramatic achievement of Leigh Melrose’s portrayal could possibly have been superseded.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."

boulezian.blogspot.co.uk

Jumping in as Wozzeck at the Royal Festival Hall & Zürich Opera

Copyright 2017 Melrose Tynan Ltd