Italian bass Andrea Mastroni began his musical education as a clarinettist before moving to vocal studies where he graduated from the Istituto Claudio Monteverdi in Cremona. His awards include the Mario Basiola prize (2005), the Giuseppe Di Stefano prize (Trapani) for his portrayl of Sparafucile Rigoletto, the Bibiena (Mantua) prize (2007) and the XXXVII Prize Franco Abbiati for his performance in Perocco’s Aquagranda at Teatro La Fenice.

Andrea’s repertoire includes Rocco Fidelio, Seneca L’Incoronazione di Poppea, Colline La bohème, Sparafucile Rigoletto, Hundung Die Walküre, Selim Il Turco in Italia, Il Re di Scozia Ariodante, Heinrich Lohengrin, Daland Der fliegende Holländer, Sarastro Die Zauberflöte, Gremin Eugene Onegin, Achille in Sciro, Mustàfa Italiana in Algeri, Cardinal de Brogni La Juive, König Marke Tristan und Isolde, and the title roles in Don Giovanni and Don Pasquale among many others.

He has appeared at Metropolitan Opera, Opernhaus Zurich, Teatro Real Madrid, Bayerische Staatsoper, Deutsche Staatsoper, Hamburgische Staatsoper, Cincinnati Opera, Theatre des Champs Elysées, Teatro Massimo Di Palermo, and Royal Opera House Covent Garden.

In the 2019/20 season Jongmin will make debut at The Metropolitan Opera as Colline in La bohème – at the Wiener Staatsoper, Jongmin’s repertoire will include Ferrando Il trovatore, Sarastro Die Zauberflöte, Basilio Il barbiere di Siviglia, Vodník Rusalka, Le Comte des Grieux Manon, Figaro Le nozze di Figaro. Jongmin will also return to the Salzburg Easter Festival as il frate in a new production of Don Carlo under Christian Thielemann. In summer 2020, he will make two festival debuts: Chorégies d’Orange and Grafenegg.

Recent opera highlights at Vienna State Opera include Narbal and Raimondo in new productions of Les Troyens and Lucia di Lammermoor. Other highlights included his debut at the Royal Opera House Covent Garden as Colline in La bohème; Teatro Real Madrid on tour at the The Savonlinna Opera Festival as Sir Giorgo in I puritani conducted by Evelino Pidò, where he was later re-invited for Ludovico in Otello; his debut at The Salzburg Festival in 2016 (Die Liebe der Danae), and his debut at the Salzburg Easter Festival in Die Meistersinger von Nürnberg under Christian Thielemann.

On the concert platform, Jongmin has appeared at the BBC Proms; in Verdi’s Messa da Requiem at the Wiener Konzerthaus, and at the Royal Festival Hall with The Philharmonia under Edward Gardner; Beethoven’s Symphony No. 9 with the London Symphony Orchestra, and with the NHK Orchestra in Japan under Herbert Blomstedt. Hunding in Die Walküre with the Dallas Symphony and Jaap van Zweden; as well as Ludovico in Otello with the Bergen Philharmonic conducted by Edward Gardner. He has performed solo recitals in Munich and Frankfurt, as well as the Musikverein in Vienna and Wigmore Hall.

Mikhail Petrenko, is one the most sought after basses in the world. His many recordings include Die Walküre conducted by Gergiev released on the Mariinsky Label and Gounod’s Romeo et Juliette conducted by Yannick Nezet-Seguin released on Deutsche Grammophon. He added a recording of Rachmaninov’s The Bells with the Berliner Philarmoniker to his discography conducted by Sir Simon Rattle, released on EMI and also features as Leporello in the film version of Don Giovanni, (Kasper Holten’s ‘Juan’).

British bass James Platt was educated at Chetham’s School of Music and went on to study at the Royal Academy of Music and the Opera Course of the Guildhall School of Music and Drama.  He was a member of the Jette Parker Young Artist Programme at the Royal Opera, Covent Garden from 2014-2016.

Highlights in his 2019/20 season include Bottom in a new production of A Midsummer Night’s Dream for the Deutsche Oper, Berlin and Sparafucile Rigoletto and Basilio Il barbiere di Siviglia for the Welsh National Opera. On the concert platform he sings The Dream of Gerontius with the CBSO/Edward Gardner and the Tonhalle-Orchester Zürich/Robert Trevino, The Creation with the Royal Northern Sinfonia/Paul McCreesh, Messiah with the Hallé Orchestra/Cristian Macelaru and Don Fernando Fidelio with the Hallé Orchestra/Sir Mark Elder and Il Re in a European tour of Ariodante with Les Musiciens du Louvre/Marc Minkowski.

Elsewhere he has sung Ortel Die Meistersinger von Nürnberg for Teatro alla Scala, Milan; First Soldier Salome for the Dutch National Opera; Crespel Les Contes d’Hoffmann and Basilio Il barbiere di Siviglia for the Deutsche Oper, Berlin; Sarastro Die Zauberflöte for the Welsh National Opera; Il Commendatore Don Giovanni for Opera North; Dr Grenvil La traviata and Gremin Eugene Onegin for Scottish Opera and Notary Don Pasquale at the Glyndebourne Festival.

His concert appearances include Bach’s Weihnachts-oratorium on tour with Les Musiciens du Louvre/Marc Minkowski, Shostakovich’s Four Romances on Poems by Pushkin with the Hallé Orchestra/Sir Mark Elder, Beethoven’s Symphony No. 9 with the Royal Northern Sinfonia/Lars Vogt, Handel’s Messiah with the Hallé Orchestra/Christian Curnyn, Verdi’s Requiem with the Orchestre National de Lyon/Leonard Slatkin, Dvorak’s Requiem with the BBC Symphony Orchestra/Jiri Belohlavek, Rossini’s Petite Messe Solennelle at the BBC Proms with the BBC Singers/David Hill and Nino’s Ghost in Rossini’s Semiramide also at the BBC Proms with the OAE/Sir Mark Elder.

Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at Royal Opera House, Covent Garden. In 2006 he made an acclaimed debut at the Glyndebourne Festival Opera as Bottom (Britten A Midsummer Night’s Dream), for which he received the John Christie Award, and he has since performed at opera houses throughout the world.

He has sung under the baton of Sir Colin Davis, Gustavo Dudamel, Sir Andrew Davis, Vladimir Jurowski, Sir Charles Mackerras, Yannick Nézet-Seguin and Antonio Pappano and is already a critically acclaimed recording artist, winning a Grammy Award for Best Opera Recording for Ratcliffe/Billy Budd. Other recordings include Winterreise with pianist Gary Matthewman and Schwanengesang with Malcolm Martineau (Stone Records).

This season, Matthew will sing Leporello Don Giovanni for Chicago Lyric Opera, Claudio Agrippina and Colline La Boheme for the Metropolitan Opera, Baron Orchs Der Rosenkavalier for La Monnaie and Nick Shadow The Rake’s Progress for Glyndebourne Festival Opera. Forthcoming concert highlights include Beethoven’s Missa Solemnis with the Atlanta Symphony Orchestra cond. Robert Spano and the Wroclaw Philharmonic Orchestra with Giancarlo Guerrero.

A regular guest at the world’s most important opera houses, Peter Rose’s enormous repertoire includes Boris Godunov, Pimen, Ramphis, Fasolt, Somnus, Daland, King Marke, the Commendatore, Basilio, Kecal, Ochs, Banquo, Philip, Prince Gremin, Leporello, Osmin, Gurnemanz, Zaccaria, Claggart and Falstaff. He has won particular acclaim for his performances of Bottom which he has sung in Aix-en-Provence, Paris, London, Rome, on the occasion of his debut at the Metropolitan Opera, New York and for Glyndebourne Festival Opera. A prolific concert artist he has sung under, among others, Giulini, Rattle, Kleiber, Maazel, Barenboim, Boulez, Mehta, Solti and Masur with orchestras that include the Cleveland Orchestra, the London Symphony, Chicago Symphony and the New York, Wiener and Berliner Philharmonic Orchestras.

Highlights in Brindley Sherratt’s 2019/20 season include Il Commendatore Don Giovanni for the Royal Opera; Bartolo Le nozze di Figaro and Geronte di Revoir Manon Lescaut for the Metropolitan Opera; Doktor Wozzeck for the Festival d’Aix-en-Provence and Pimen Boris Godunov for his debut at the Bayerische Staatsoper, Munich.

On the concert platform he sings Marke Tristan und Isolde (Orquesta y Coro Nacionales de España/David Afkham); Fafner Siegfried (LPO/Vladimir Jurowski); Rocco Fidelio (Hallé Orchestra/Sir Mark Elder); Judas The Apostles (LPO/Sir Mark Elder); Valens Theodora (Arcangelo/Jonathan Cohen); Tippett’s A Child of our Time (CBSO/Mirga Gražinytė-Tyla) and Beethoven’s Missa Solemnis (BBC Symphony Orchestra/Richard Farnes).

Notable career highlights have included Sarastro at the Vienna State Opera, the Netherlands Opera, the Glyndebourne Festival and for the Royal Opera; Claggart at the Aldeburgh and Glyndebourne Festivals, the Royal Opera, BBC Proms, the Teatro Real in Madrid and in New York at the Brooklyn Academy of Music; Ochs Der Rosenkavalier, Arkel Pelléas et Mélisande and Rocco Fidelio at the Glyndebourne Festival; Arkel for the Oper Frankfurt and the Opernhaus Zurich; Fafner in the Ring Cycle and Sparafucile Rigoletto at Covent Garden; Bottom A Midsummer Night’s Dream at the Festival d’Aix-en-Provence; Doktor Wozzeck at the Lyric Opera of Chicago; Ochs and Pogner Die Meistersinger von Nürnberg for the Welsh National Opera; Filippo Don Carlo for Opera North and Pimen Boris Godunov and Fiesco Simon Boccanegra at the English National Opera.

David Soar was born in Nottinghamshire and studied at the Royal Academy of Music and the National Opera Studio.

Highlights in David’s 2019/20 season include his role debut as Vodnik in a new production of Rusalka for the English National Opera and the Grand Théâtre de la Ville de Luxembourg, Lodovico in Otello for the Royal Opera House, and a return to Grange Park Opera for Don Pizzaro Fidelio. He will also make debuts with the London Symphony and Berlin Philharmonic Orchestras with Sir Simon Rattle in performances of Beethoven’s Christus am Ölberge.

In demand on the concert platform, David’s recent engagements have included Harapha in Handel’s Samson at the Edinburgh Festival (Dunedin Consort/John Butt), Elgar’s The Dream of Gerontius (BBC Symphony Orchestra/Sir Andrew Davis, Seattle Symphony Orchestra/Edward Gardner & BBC Scottish Symphony Orchestra/Martyn Brabbins), Mendelssohn’s Elijah (Royal Flemish Philharmonic/Philippe Herreweghe & Orquesta y Coro Nacionales de España/Masaaki Suzuki), Frère Laurent Roméo et Juliette (BBC Symphony Orchestra/Sir Andrew Davis), Bach’s Weihnachts-Oratorium (Royal Northern Sinfonia/Lars Vogt), Méphistophélès in Berlioz’ La Damnation de Faust (Orchestra of Opera North/Simon Wright), Weill’s The Seven Deadly Sins (Hallé Orchestra/Sir Mark Elder), Walton’s Belshazzar’s Feast (BBC Philharmonic Orchestra/John Storgards) and Bauer in Schönberg’s Gurre-Lieder (Philharmonia/Esa-Pekka Salonen).