“Leigh Melrose’s imposing Polixenes... it’s the show’s most electrifying moment.”
The Times, January 2017
“Musically, it's astonishing. Melrose, giving the performance of a lifetime”
Wozzeck, The Guardian, October 2015
“Leigh Melrose, the emergent specialist of 20th-century opera, is a chillingly barbarous Ruprecht crushed by unfulfilled lust.”
Financial Times, May 2017
News & Future Projects
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, directed by Sir David McVicar, and Zimmermann’s Die Soldaten directed by Calixto Bieito. Information on these shows can be found here and here.
Theatre of the World:
Andriessen's Theatre of the World was recorded during the two performances with the LA Philharmonic and it has now been released on CD and Spotify.
"top marks to a cast led by the superbly characterful British baritone Leigh Melrose as Kircher... this brilliant recording, with the Los Angeles Philharmonic in razor-sharp form, with dazzling fluidity... alludes to everything from medieval organum and baroque sacred music to big-band jazz, children’s songs and political anthems."
The Times, October 6 2017
La Scala and Wiener Staatsoper:
Further ahead there is a debut at Teatro alla Scala in György Kurtág's eagerly awaited opera Fin de Partie, a setting of Beckett's play ("Endgame" in English). More information can be found here.
There are also roles at Wiener Staatsoper as well as returns for new productions at Dutch National Opera and Opernhaus Zürich.
Details to follow!
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.
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..."
"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."
Copyright 2017 Melrose Tynan Ltd