Ashley Riches

“…rapidly emerging as one of today’s finest young singers” ~ The Guardian

© Debbie Scanlon


Bass-Baritone Ashley Riches studied at King’s College, Cambridge and the Guildhall School of Music and Drama and was later a Jette Parker Young Artist at The Royal Opera House and a BBC Radio 3 New Generation Artist.

On the operatic stage he has sung Figaro and Count Almaviva Le Nozze di Figaro, Don Giovanni, Escamillo Carmen, Schaunard La Boheme and the Pirate King The Pirates of Penzance at houses including The Royal Opera House, English National Opera, Glyndebourne, Garsington, the Grange Festival and Opera Holland Park. This season he makes his house debut with Santa Fe Opera as Figaro Le Nozze di Figaro and Bottom A Midsummer Night’s Dream.

Highlights on the concert platform include Berlioz’s Lélio with Sir John Eliot Gardiner in Carnegie Hall, New York, Bernstein’s Wonderful Town with the London Symphony Orchestra under Sir Simon Rattle, a European tour of Giulio Cesare and Agrippina with Les Talens Lyriques with Christophe Rousset and Creon Oedipus Rex with the Berlin Philharmonic Orchestra.

In recital, he has collaborated with pianists including Graham Johnson, Iain Burnside, Julius Drake, Joseph Middleton, Anna Tilbrook, James Baillieu, Simon Lepper, Gary Matthewman and Sholto Kynoch.

Ashley has a fast-growing discography including the BBC Music Magazine 2020 Recording of the Year, Purcell’s King Arthur with Gabrieli and Wonderful Town with the LSO and Sir Simon Rattle. This season he releases his debut solo-disc for Chandos, Musical Zoo.

When not singing, Ashley enjoys the Times Crossword.


Video & Audio

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    21 Mar 21 RAVEL L’Heure Espagnole
    Grange Park Opera

    “However the standout performance is Ashley Riches as Don Iñigo Gomez. As well as providing the evening’s best gag—a man called Riches playing a banker—he brings a momentary touch of long-legged, vocally curdled menace to the scene. But of course he’s no match for Concepción.”
    Ivan Hewett, The Telegraph, 19 March 2021

    “Ashley Riches’s arrogant Don Iñigo Gomez (self-styled “king of bankers”) and Elgan Llŷr Thomas’s drippy, sonnet-spouting dilettante Gonzalve are exactly the types you might expect to find in Kensington Church Street. It’s richly comic to see these two hopelessly inept would-be lovers not only failing to impress Catherine Backhouse’s delightfully scheming Concepción, but getting themselves irretrievably stuck inside two grandfather clocks in the process.”
    Richard Morrison, The Times, 19 March 2021

    “Riches is ideally dour and hypocritical as Iñigo”
    Tim Ashley, The Guardian, 21 March 2021

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    26 Feb 21 A MUSICAL ZOO CD

    “Riches summons a wide range of colours and character for this hugely appealing musical menagerie: Strauss’s Thrush and Fauré’s Butterfly are brought to life with an airy charm, Ravel’s guinea-fowl is properly pugnacious, and there’s plenty of sardonic bite (as well as real Slavic darkness) for Mussorgsky’s Flea and Cockroach; he and Middleton have a ball with Vernon Duke’s Musical Zoo, a series of tiny vignettes delivered with cabaret-esque flair and a pitch-perfect American accent.”
    *Presto Editor’s Choices – February 2021
    Katherine Cooper, Presto Classical, 01 March 2021

    “A magical and wide-ranging selection of animal songs in vivid, engaging and stylish performances This delightful disc on Chandos from bass-baritone Ashley Riches and pianist Joseph Middleton takes animals as its inspiration. But the charm of the disc, A Musical Zoo, is the way the performers have cast their net widely so that we have songs by Schubert, Schumann, Brahms, Richard Strauss, Faure, Ravel, Mussorgsky, Shostakovich, John Ireland, Herbert Howells, Samuel Barber and ending with Vernon Duke’s settings of Ogden Nash … This is a recording which wears its learning lightly, we can sit back and enjoy the engaging performances and vivid storytelling, or we can dig deeper and appreciate the work that has gone into the artists’ sheer versatility at bringing all these different styles and eras to life.”
    ★★★★★ Robert Hugill, Planet Hugill, 03 March 2021

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    01 Mar 21 SALIERI Armida
    Les Talens Lyrique

    “The only male voice belongs to Ubaldo, the knight who has come to rescue Rinaldo. Ashley Riches, suitably martial when scattering the demons, ends the first act by vigorously commanding God to remove the blinkers from Rinaldo’s eyes.”
    Richard Lawrence, Gramophone, March 2021

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    29 Jan 20 BIZET Carmen
    English National Opera

    “Escamillo, played by the imposing baritone Ashley Riches, held his own with a self-assured, heroic depiction of the toreador who drives José to murderous jealousy.”
    Craig Dacey, Rhinegold, 03 February 2020

    “Charismatic baritone Ashley Riches.”
    Mike C, Londonist, 31 January 2020

    “Ashley Riches excels as Escamillo and is especially good at goading Don Jose.”
    John O’Brien, London Theatre1, 30 January 2020

    “Ashley Riches makes for an excellent, fame-hungry Escamillo.”
    Tim Bano, The Stage, 30 January 2020

    “…Ashley Riches here, owning the role of Escamillo. He seems to inhabit completely everything he touches. His characteristic vocal power and stage presence both needed here, his ‘Votre toast’ equivalent (the Toreador moment) wonderfully projected, and, after the chorus has entered, his voice seamlessly entering the vocal tapestry.”
    Colin Clarke, Seen & Heard International, 09 February 2020

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    30 Oct 19 PURCELL King Arthur
    St. John Smith's Square

    “At the start of Act 5 Ashley Riches’ richly proclaimed announcement that Britannia must “rise/In triumph of the main” was accompanied by surging strings which were then becalmed by soft oboes as Riches’ baritone, rippling with anticipation, foretold the appearance of the Queen of the Islands…. In Act 3, Rowan Pierce was a luxuriantly vibrant Cupid, waking Riches’ yawning Cold Genius. Riches was characteristically attentive to the text, its comic nuances exploited neatly, while the pianissimo chorus of ‘Cold People’ quivered and shivered evocatively.”
    Claire Seymour, Opera Today, 01 November 2019

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    24 Sep 19 HANDEL Giulio Cesare
    Théâtre des Champs Elysées

    “Entendu récemment à Versailles dans Benvenuto Cellini, le baryton Ashley Riches prend à bras le corps le rôle d’Achillas pour délivrer ses conseils malfaisants et mener ses avances envers Cornelia. La voix montre un certain enrobé, un vibrato large et ample ainsi qu’une projection idéale faisant la part belle aux médiums et aux basses du chanteur (les chutes octaviées, points d’orgue forçant le respect, à côté de vocalises ronronnantes)… il gagne en complexité à la fin de l’ouvrage par un chant legato plus décharné et sincère.”

    [Translated] ” Heard recently at Versailles in Benvenuto Cellini , the baritone Ashley Richestakes on the role of Achillas to deliver his evil counsels and make advances to Cornelia. The voice shows a certain mix, a wide and ample vibrato as well as an ideal projection giving pride of place to the mediums and the bass of the singer (the octave falls, points of organ forcing respect, next to purring vocals)… he gains in complexity at the end of the work by a legato song more emaciated and sincere.”
    Nicolas Mathieu, Olyrix, 26 September 2019

    “L’Achilla d’Ashley Riches quant à lui est tout de profondeur et d’autorité dans le timbre, idéal dans le rôle du traître.”

    [Translated] “Ashley Riche’s Achilla, on the other hand, is deep and authoritative in tone, ideal in the role of the traitor.”
    Claire-Marie Cuassin, Forum Opera, 24 September 2019

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    02 Sep 19 BERLIOZ Benvenuto Cellini
    Royal Albert Hall

    “And Ashley Riches, who is nothing if not consistent in his excellence across music of all centuries, gave his all as Bernardino.”
    Colin Clarke, Seen and Heard International, 03 September 2019

    “Lionel Lhote, Vincent Delhoume, Ashley Riches and Adèle Charvet all acquitted themselves well with idiosyncratic contributions, rounding out an inspired cast and keeping pace with the exacting demands of Berlioz’s writing.”
    Curtis Rogers, Classical Source, 02 September 2019

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    13 Aug 19 PURCELL King Arthur
    Festival International d'Opéra Baroque de Beaune

    “Ashley Riches déploie sa basse, longue, profonde mais toujours très claire… L’acteur est là aussi, très grand, avec un corps flexible et adoptant toutes les postures idoines. Le visage en soi est un théâtre tant il est mobile et sait arborer de physionomies. Son air du froid sait conférer à ce personnage de Génie une quasi humanité, dans la lassitude et la vieillesse.”

    [Translated] “Ashley Riches unfolds its bass, long, deep but still very clear…The actor is there too, very tall, with a flexible body and adopting all the appropriate postures. The face itself is a theater as it is mobile and knows how to display physiognomies. His air of cold knows how to give this character Genius a near humanity, in weariness and old age.”
    Joel Heuillon, Olyrix, 13 August 2019

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    22 Jul 19 TCHAIKOVSKY Iolanta
    Opera Holland Park

    “… Ashley Riches’ performance drew a wonderful sense of otherness around Ibn-Hakia and at the end, his duty done, you sensed the character evaporating.”
    Robert Hugill, Planet Hugill, 23 July 2019

    “…Ashley Riches was a confident Doctor Ibn-Hakia.”
    Colin Clarke, Seen and Heard International, 24 July 2019

    “…Ashley Riches delivered Ibn-Hakia’s monologue with considerable eloquence.”
    Claire Seymour, Opera Today, 23 July 2019

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    27 Jul 19 PURCELL The Fairy Queen
    Festival International d'Opéra Baroque de Beaune

    “…tandis qu’Ashley Riches fait valoir l’étalage de toute sa classe vocale en de multiples emplois, comiques ou dramatiques, sans jamais faillir. Il fait partie des plus belles satisfactions des deux soirées…”

    [Translated] “…Ashley Riches makes the display of his entire vocal class in multiple jobs, comic or dramatic, without fail. It is one of the most beautiful satisfactions of the two evenings…”
    Florent Coudeyrat, Concerto Net, 27 July 2019

    “Enfin, le baryton-basse Ashley Riches, puissant, somptueux, complète l’équipe de solistes.”

    [Translated] “Finally, the bass-baritone Ashley Riches , powerful, sumptuous, completes the team of soloists.”
    Yvan Beuvard, Forum Opera, 27 July 2019

    “L’impressionnant Ashley Riches frappe les trois coups avec une hilarante Scène du Poète ivre.”

    [Translated] “The impressive Ashley Riches hits all three shots with a hilarious scene from the Drunken Poet.”
    Jean-Luc Clairet, Res Musica, 01 August 2019

    “Ashley Riches, basse, doté d’une belle voix, ample, étendue et sonore, devient le centre de gravité lors de ses interventions en magistral poète ivre.”

    [Translated] “Ashley Riches , bass, endowed with a beautiful voice, ample, extended and sonorous, becomes the center of gravity during his interventions in masterful drunken poet.”
    Joel Heuillon, Olyrix, 31 July 2019

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    18 May 19 BERLIOZ La Damnation de Faust
    Glyndebourne Festival

    “The excellent Ashley Riches dominates the tavern scene imperiously.”
    Michael Church, The Independent, 20 May 2019

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    10 Nov 18 ANTHONY-TURNAGE The Silver Tassie
    Barbican Centre

    “The cast was consistently strong. Ashley Riches, who is rapidly emerging as one of today’s finest young singers, made an outstanding Harry…”
    Tim Ashley, The Guardian, 11 November 2018

    “Top-notch soloists all round, but the standout performance, unsurprisingly, came from Ashley Riches as Harry, superbly depicting the contrast between the cocky, carefree lad and the humiliated, shunned cripple.”
    Richard Morrison, The Times, 12 November 2018

    “It’s Gurney and Butterworth and Finzi that you hear in Harry’s aching Act IV music (sung with such rueful tenderness by Ashley Riches…”
    Alexandra Coghlan, The Arts Desk, 11 November 2018

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    15 Oct 18 BERLIOZ Leilo
    Carnegie Hall

    “… the baritone Ashley Riches elegant in his brief moment in the spotlight.”
    Corinna da Fonseca-Wollheim, New York Times, 16 October 2018

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    02 Oct 18 PURCELL Dido and Aeneas

    “Caitlin Hulcup and Ashley Riches, both vigorously expressive…”
    Geoff Brown, The Times, 4 October 2018

    “…Ashley Riches made a strong warrior out of Aeneas.”
    Richard Fairman, Financial Times, 3 October 2018

    “The hero himself must play second fiddle here, but Riches’ stalwart baritone had both force and finesse.”
    Boyd Tonkin, The Arts Desk, 3 October 2018

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    07 Sep 18 BERNSTEIN Wonderful Town CD
    LSO Live

    “Duncan Rock, David Butt Philip and, especially, Ashley Riches make a spirited trio of American sailors hitting the town for the night.”
    Richard Fairman, Financial Times, 2 November 2018

    “…Ashley Riches gives a lively turn as the Guide in the opening number.”
    Robert Hugill, Planet Hugill, 30 August 2018

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    27 Jul 18 PARRY Hear my words, ye people
    BBC Proms

    “Spirited and suitably emotive vocal solos too from Francesca Chiejina and Ashley Riches…”
    Gavin Dixon, Arts Desk, 28 July 2018

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    08 Jun 18 HANDEL Agrippina
    The Grange Festival

    “…and Riches has fun with Claudio’s preposterously self-important vocal lines.”
    Tim Ashley, The Guardian, 11 June 2018

    “…Ashley Riches as the ineptly philandering Claudio delivered the gentle “Vieni O cara” whilst crawling around with his trouser around his ankles – comedy gold.”
    David Truslove, Bach Track, 11 June 2018

    “…Ashley Riches’s sad old groper Claudius is a complex but believable creation…”
    Michael Church, The Independent, 12 June 2018

    “…Ashley Riches is a consummate musical actor, capable of revealing the somewhat hapless side of Claudio’s personality within a musical performance that is secure and authoritative.”
    Curtis Rogers, Classical Source, 8 June 2018

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    28 Mar 18 MOZART The Marriage of Figaro
    English National Opera

    “On Ashley Riches the role of Count Almaviva fits like a glove – he’s haughty, sulky, spoilt, predatorily lubricious, and his sound is darkly seductive.”
    Michael Church, The Independent, 5 April 2018

    “Ashley Riches is all charisma and machismo as the Count…”
    Rebecca Franks, The Times, 2 April 2018

    “Ashley Riches cuts an imposing figure as the Count, authoritative and lascivious…”
    Richard Fairman, Financial Times, 5 April 2018

    “… Ashley Riches gives a remarkably assured account. He takes advantage of his height to dominate proceedings; his character’s actions within, and reactions to, the intrigue are to the fore. You get a real sense of what drives this aristocrat and what frustrates him. Riches’s singing is also first rate – his warm coppery tone sounds very well in the large theatre.”
    Alexander Campbell, Classical Source, 29 March 2018

    “Ashley Riches both sang and acted superbly as the hapless Count, puffing out his chest, squaring his shoulders, striding imperiously in his black leather boots, but ever sporting an air of slight bafflement as to how everyone else seemed to be in the know. Riches’ recitatives were fluently and convincingly delivered and in ‘Vedrò mentr’io sospiro’ he used all of his vocal might and nuance to offer a momentarily persuasive riposte to the uncovered plotting of Susanna and Figaro.”
    Claire Seymour, Opera Today, 30 March 2018

    “Ashley Riches is a convincing Count, revealing his strong bass-baritone…”
    Sam Smith, Music OMH, 31 March 2018

    “…Riches gave us a beautifully three dimensional portrait, so that his behaviour never tipped over into the extreme and there was always a facade to put on. Riches and Lucy Crowe developed a nicely complex relationship between the married couple, you sense the attraction as well as the problems. And Riches really was seductive, which helps enormously.”
    Robert Hugill, Planet Hugill, 30 March 2018

    “Just as good, though, was Ashley Riches’s Count, who projected vain overconfidence and seductive swagger…”
    Ditlev Rindom, Opera, May 2018

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    16 Dec 17 BERNSTEIN Wonderful Town

    “The opening “Christopher Street” showcased an impressive Ashley Riches.”
    Gavin Dixon, Arts Desk, 17 December 2017

    “A terrific cast, including Nathan Gunn, Duncan Rock, David Butt Philip and Ashley Riches…”
    Fiona Maddocks, The Guardian, 24 December 2017

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    08 Aug 17 BERLIOZ La Damnation de Faust
    Royal Albert Hall, BBC Proms

    “…the chorus managed brilliantly with lighter moments earlier on, and after the drinking song by Ashley Riches in his comic turn as Brander…”
    Mark Ronan,, 9 August 2017

    “Ashley Riches with his own strong bass-baritone also went to town on his effective portrayal of Brander, and overall this performance felt as polished as it was entertaining from start to finish.”
    Sam Smith, Music OMH, 8 August 2017

    “Add the characterful, vigorous contributions of Gardiner’s massed choruses and a genuinely comic cameo from young bass-baritone Ashley Riches and you had exactly the kind of overflowing evening this music was made for, layering sensation on sensation.”
    Alexandra Coghlan, Independent, 9 Augsut 2017

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    04 Jun 17 MOZART Don Giovanni
    Opera Holland Park

    “There are some fine singers to support the enterprise. Ashley Riches makes a masterful Don Giovanni. Tall, suave and honey-toned he oozes a sense of privilege and entitlement.”
    Howard Shepherdson, Limelight, 13 June 2017

    “Ashley Riches, tall, fair and handsome, sang the title role with a golden timbre laced with incipient seduction…”
    Mark Valencia, WhatsOnStage, 6 June 2017

    “In the title role, Ashley Riches has the elegance and swagger to make us believe in him to the bitter end…”
    Hannah Nepil, Financial Times, 6 June 2017

    “Dane Lam conducts well, while Ashley Riches is good in the title role with his smooth baritone and natural presence.”
    Sam Smith, Music OMH, 5 June 2017

    “…his singing is virile, expressive and very suave….”
    Alexander Campbell, Classical Source, 3 June 2017

    “Vocally, he sounded in good form, singing his Serenade most beautifully.”
    Mark Pullinger, Bach Track, 4 June 2017

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    09 Feb 17 GILBERT & SULLIVAN The Pirates of Penzance
    English National Opera

    “Riches, with his firm bass-baritone, and Lucy Schaufer, with her sensitive portrayal of a superficially comic character, also make an impression as The Pirate King and Ruth respectively.”
    Sam Smith, Music OMH, 13 February 2017

    “…it was the swashing and buckling of Pirate King Ashley Riches that injected some much-needed oomph in to the pacing – not to mention some excellent singing.”
    Olivia Bell, Bach Track, 11 February 2017

    “As the Pirate King, Ashley Riches combines flair with fanfaronade…”
    George Hall, The Guardian, 12 February 2017

    “… Ashley Riches brought an appropriate touch of the good-natured head-boy to the nobly born Pirate King.”
    Rupert Christiansen, Telegraph, 10 February 2017

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    10 Oct 16 PURCELL The Fairy Queen
    Academy of Ancient Music, Barbican Centre

    “Ashley Riches’ riotous Drunken Poet – ‘I’m drunk as I live boys, drunk’ – was blessed with a wonderful swagger of demeanour and voice; his confession of poverty was couched in such soft sweetness…”
    Claire Seymour, Opera Today, 14 October 2016

    “Ashley Riches was a great asset, his fun drunken poet in the first scene a massive contrast to the section on Winter that closes the fourth act (“Now Winter comes slowly, pale, meagre and old.”) Riches has great stage presence, which tied to his fine, focused bass is a great combination.”
    Colin Clarke, Seen and Heard, 12 October 2016

    “And what singers they were…bass Ashley Riches, a Radio 3 New Generation artist, swaggering with great panache as the drunken poet…”
    Cara Chanteau, Independent, 11 October 2016

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    24 Oct 15 PUCCINI La bohème
    English National Opera

    “…Riches’s raunchy, funny Schaunard is one of the best of recent years.”
    Tim Ashley, The Guardian, 19 October 2015

    “Duncan Rock as Marcello and Ashley Riches as Schaunard gave strong performances.”
    Barry Millington, Evening Standard, 19 October 2015

    “Pick of the bohemian boys were the two baritones: Duncan Rock’s sympathetic, warmly sung Marcello, and Ashley Riches’ more incisive Schaunard.”
    Mark Pullinger, Bach Track, 17 October 2015

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    22 Aug 15 BACH Christmas Oratorio
    Academy of Ancient Music, Barbican Centre

    “The real star of the evening was young Ashley Riches, only two years out of the Royal Opera’s Jette Parker Young Artists programme, and the total artist: range secure from top to bottom, a highly dramatic way with the text and pure musicianship.”
    David Nice, The Arts Desk, 23 December 2015

    “…the increasingly impressive bass Ashley Riches brought authority and clear German to his recitatives.”
    Richard Fairman, Financial Times, 27 December 2015


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    Label: Chandos

    Release Date: 26 Feb 21

    Bass-Baritone: Ashley Riches
    Pianist: Joseph Middleton

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    SALIERI Armida

    Label: Aparte

    Release Date: 18 Feb 21


    Armida: Lenneke Ruiten
    Rinaldo: Florie Valiquette
    Ismene: Teresa Iervolino
    Ubaldo: Ashley Riches
    Choir: Chœur de chambre de Namur
    Orchestra: Les Talens Lyriques
    Conductor: Christophe Rousset

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    PURCELL King Arthur

    Label: Winged Lion / Signum Classics

    Release Date: 25 Oct 19


    Anna Dennis, Mhairi Lawson, Rowan Pierce, Carolyn Sampson (sopranos)
    Jeremy Budd, James Way (tenors)
    Ashley Riches, Roderick Williams (bass/baritones)

    Gabrieli Consort & Players

    Paul McCreesh (conductor)

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    BERNSTEIN Wonderful Town

    Label: LSO Live

    Release Date: 07 Sep 18

    Conductor: Sir Simon Rattle

    Eileen: Danielle de Niese
    Ruth: Alysha Umphress
    Bob Baker: Nathan Gunn
    Wreck/Second Associate Editor: Duncan Rock
    Lonigan: David Butt Philip
    Guide/First Editor/Frack: Ashley Riches

    London Symphony Orchestra

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    The Discovery Recital CD

    Label: Opus Arte

    Release Date: 29 Sep 17

    This recording features the current members and alumni of the Jette Parker Young Artists programme.

    Soprano: Francesca Chiejina
    Soprano: Kiandra Howarth
    Mezzo-soprano: Hanna Hipp
    Tenor: Luís Gomes
    Tenor: David Junghoon Kim
    Baritone: Ashley Riches
    Bass: David Shipley
    Piano: David Gowland

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    SULLIVAN Songs

    Label: Chandos

    Release Date: 03 Mar 17

    Soprano: Mary Bevan
    Tenor: Ben Johnson
    Bass-baritone: Ashley Riches
    Piano: David Owen Norris

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    BACH St John Passion

    Label: Chandos

    Release Date: 01 Apr 17

    Conductor: David Temple

    Jesus: Ashley Riches
    Soprano: Sophie Bevan
    Counter-tenor: Robin Blaze
    Tenor: Benjamin Hulett
    Evangelist: Robert Murray
    Bass-baritone: Neal Davies

    Bach Camerata

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    BACH St Matthew Passion

    Label: SDG

    Release Date: 10 Mar 17

    Conductor: Sir John Eliot Gardiner

    Evangelist: James Gilchrist
    Jesus: Stephan Loges
    Soprano: Hannah Morrison
    Soprano: Zoë Brookshaw
    Soprano: Charlotte Ashley
    Counter-tenor: Reginald Mobley
    Alto: Eleanor Minney
    Tenor: Hugo Hymas
    Baritone: Alex Ashworth
    Bass-baritone: Ashley Riches
    Bass: Jonathan Sells

    English Baroque Soloists
    Monteverdi Choir
    Trinity Boys Choir

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    HAYDN Paukenmesse and Nelson Mass

    Label: RPO

    Release Date: 02 Dec 16

    Conductor: Hilary Davan Wetton

    Soprano: Rachel Nicholls
    Soprano: Grace Davidson
    Mezzo-soprano: Anna Harvey
    Tenor: Mark Wilde
    Bass-baritone: Ashley Riches

    Royal Philharmonic Orchestra
    City of London Choir

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    Mario Castelnuovo-Tedesco: Shakespeare Sonnets

    Label: Resonus Classics

    Release Date: 30 Mar 15

    Bass-baritone: Ashley Riches
    Piano: Emma Abbate

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    BACH St Matthew Passion

    Label: AAM Records

    Release Date: 30 Mar 15

    Director and Harpsicord: Richard Egarr

    Evangelist: James Gilchrist
    Jesus: Matthew Rose
    Pilatus: Ashley Riches
    Soprano: Elizabeth Watts
    Mezzo-soprano: Sarah Connolly
    Tenor: Thomas Hobbs
    Bass: Christopher Maltman

    Academy of Ancient Music
    Choir of the AAM


BERLIOZ Béatrice et Bénédict (Claudio)
BIZET Carmen (Escamillo)
BRITTEN The Rape of Lucretia (Tarquinius)
BRITTEN A Midsummer Night’s Dream (Demetrius)
BRITTEN Albert Herring (Sid)
BRITTEN Owen Wingrave (Title Role)
HANDEL Acis and Galataea (Polyphemus)
MASSENET Manon (Lescaut)
MOZART Don Giovanni (Title Role)
MOZART The Marriage of Figaro (Figaro, Count Almaviva)
MOZART Così fan Tutte (Guglielmo, Don Alfonso)
MOZART The Magic Flute (Papageno)
PUCCINI La Bohème (Marcello, Schaunard)
PUCCINI Turandot (Mandarin)
PURCELL Dido and Aeneas (Aeneas)
PURCELL King Arthur
PURCELL The Fairy Queen
STRAVINSKY The Rake’s Progress (Nick Shadow, Keeper of the Mad House)
STRAVINSKY Oedipus Rex (Creon)
STRAUSS Ariadne auf Naxos (Harlequin)
SULLIVAN The Pirates of Penzance (Pirate King)
SULLIVAN The Mikado (KoKo)
TCHAIKOVSKY Eugene Onegin (Title Role)
VERDI La Traviata (Douphol)

BACH St Matthew Passion
BACH St John Passion
BACH Magnificat
BACH  Christmas Oratorio
BEETHOVEN Missa Solemnis
BRAHMS German Requiem
BRITTEN War Requiem
DURUFLE Messe ‘Cum Jubilo’
DVORAK Requiem
DVORAK Stabat Mater
ELGAR The Apostles
ELGAR The Dream of Gerontius
HANDEL Messiah
HANDEL Israel in Egypt
HANDEL Alexander’s Feast
HANDEL Judas Maccabaeus
HANDEL L’Allegro, il Pensieroso ed il Moderato
HAYDN The Seasons
HAYDNThe Creation
HAYDN Harmoniemesse
HAYDN Paukenmesse (Missa in tempore belli)
HAYDN Nelson Mass
MOZART Mass in C
MOZART Requiem
MOZART Vespers
PUCCINI Missa di Gloria
ROSSINI Petite Messe Solenelle
ROSSINI Stabat Mater
TIPPETT A Child of Our Time
VERDI Requiem