News & Future Projects

Ruprecht in Zürich

 

"grossartig gebrochen gesungen und gespielt von Leigh Melrose"

bz Basel, 9th May 2017

 

Calixto Bieto's new production of Prokofiev's The Fiery Angel opens on the 7th May 2017. Conducted by Gianandrea Noseda and with Ausrine Stundyte as Renata, this is a dark and exciting show at Opernhaus Zürich. Details can be found here.

Golaud at the Ruhrtriennale

 

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

Jumping in as Wozzeck at the

Royal Festival Hall & Zürich 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..."

classicalsource.com

 

 

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made of the role, I cannot believe that the dramatic achievement of Leigh Melrose’s portrayal could possibly have been superseded.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

 

Copyright 2017 Melrose Tynan Ltd