David Soar


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

Recent highlights on the opera stage include Masetto Don Giovanni and Colline La boheme for the Metropolitan Opera, Mr Flint Billy Budd for the Royal Opera and Madrid’s Teatro Real, Animal Trainer/Athlete Lulu for the English National Opera and Escamillo Carmen for the Glyndebourne Festival.

In demand on the concert platform, David’s recent engagements have included Beethoven’s Christus am Ölberge Berlin Philharmonic Orchestra/Rattle), 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).

From The Green Room


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    BEETHOVEN 'Christus am Ölberge'

    Label: LSO Live

    Release Date: 13 Nov 20

    Soprano: Elsa Dreisig
    Tenor: Pavol Breslik
    Bass: David Soar

    London Symphony Orchestra & Chorus / Sir Simon Rattle

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    VAN DIEREN 'Chinese Symphony'

    Label: Lyrita

    Release Date: 30 Jan 17

    Soprano: Rebecca Evans
    Mezzo-soprano: Catherine Wyn-Rogers
    Tenor: Nathan Vale
    Baritone: Morgan Pearse
    Bass: David Soar

    BBC National Orchestra and Chorus of Wales/William Boughton

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    STANFORD 'Choral Music'

    Label: Naxos

    Release Date: 05 Sep 16

    Soprano: Elizabeth Cragg
    Mezzo-soprano: Catherine Hopper
    Tenor: Robert Murray
    Bass: David Soar

    The Bach Choir
    Bournemouth Symphony Orchestra / David Hill

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    BERLIOZ 'Roméo et Juliette'

    Label: Chandos

    Release Date: 01 Sep 16

    Mezzo-soprano: Michèle Losier
    Tenor: Samuel Boden
    Bass: David Soar

    BBC Symphony Orchestra & Chorus/ Sir Andrew Davis

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    STRAVINSKY 'Threni' & 'Requiem Canticles'

    Label: PHI Records

    Release Date: 20 May 16

    Soprano: Christina Landshamer
    Alto: Ewa Wolak
    Tenor: Maximilian Schmitt
    Tenor: Magnus Staveland
    Bass: Florian Boesch
    Bass: David Soar

    Collegium Vocale Gent
    Royal Flemish Philharmonic / Philippe Herreweghe

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    ELGAR 'The Dream of Gerontius'

    Label: Chandos

    Release Date: 13 Oct 14

    Winner, Best Choral Recording (BBC Music Magazine & Gramophone Magazine)

    Mezzo-soprano: Sarah Connolly
    Tenor: Stuart Skelton
    Bass: David Soar

    BBC Symphony Orchestra / Sir Andrew Davis

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    CILEA 'Adriana Lecouvreur'

    Label: Decca

    Release Date: 01 Apr 12

    Adriana: Angela Gheorghiu
    Maurizio: Jonas Kaufmann
    La principessa di Bouillon: Olga Borodina
    Michonnet: Alessandro Corbelli
    Quinault: David Soar
    Poisson: Iain Paton
    Mademoiselle Jouvenot: Janis Kelly
    Mademoiselle Dangeville: Sarah Castle
    Principe di Bouillon: Maurizio Muraro
    Abbé de Chazeuil: Bonaventura Bottone

    Orchestra of the Royal Opera House / Sir Mark Elder

    David McVicar’s production filmed at the Royal Opera House, Covent Garden

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    20 Jan 20 Beethoven Christus am Ölberge
    London Symphony Orchestra/Sir Simon Rattle

    “Backed by London Symphony Chorus, the soloists in this performance are well up to the challenge, bass David Soar providing the grounding over which tenor Pavol Breslik​, as Jesus, sings out with noble plangency, while the sound of soprano Elsa Dreisig, as the Seraph, rings angelically through the hall.”
    Michael Church, The Independent, 20 January 2020

    “David Soar was the sturdy bass Peter and the London Symphony Chorus, not hugely taxed, was at its best.”
    Richard Fairman, Financial Times, 20 January 2020

    “Peter is a small role, just one aria and one ensemble, which Soar delivered with a rich, resonant tone.”
    Gavin Dixon, The Arts Desk, 20 January 2020

    “The part of Peter is restricted to one recitative and one trio; David Soar contributed with dignity.”
    Agnes Kory, Seen and Heard International, 23 January 2020

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    11 Dec 19 Verdi Otello
    Royal Opera House

    “David Soar’s Lodovico and Dawid Kimberg’s Herald both provided striking singing.”
    Melanie Eskenazi, Music OMH, 10 December 2019


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    23 Apr 19 Britten Billy Budd
    Royal Opera House, Covent Garden

    “Messrs Flint and Redburn (David Soar and Thomas Oliemans, both superb)”
    David Nice, The Arts Desk, 24 April 2019

    “There is a host of stand-out performances in the smaller roles – a fine trio of officers from David Soar, Thomas Oliemans and Peter Kellner…”
    Peter Reed, Classical Source, 23 April 2019

    “There is a firm trio of officers, sung by Thomas Oliemans, David Soar and Peter Kellner.”
    Richard Fairman, Financial Times, 25 April 2019

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    28 Sep 18 Puccini La bohème
    English National Opera

    “The male character who achieved the greatest vocal impact was the sonorous Colline of David Soar.”
    Yehuda Shapiro, Opera, February 2019

    “David Soar’s fine Colline”
    Martin Kettle, The Guardian, 27 November 2018

    “David Soar is ideally cast as the thoughtful Colline”
    Mark Valencia, Bachtrack, 27 November 2018

    “There was tremendous support both in voice and personality from Nicholas Lester’s Marcello, David Soar’s Colline (his ‘Coat Aria’ was wonderful sonorously) and Harewood Artist Božidar Smiljanic’s Schaunard. All three gave charismatic, nuanced and totally committed performances.”
    Seen and Heard International, Jim Pritchard, 28 November 2018


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    19 Jun 18 Rossini Il barbiere di siviglia
    Grange Festival

    “David Soar lent his rock-solid bass to Basilio’s sepulchral scheming.”
    Mark Pullinger, Opera August, 2018

    “David Soar as the heavyweight Don Basilio boasts impressive talent.”
    Inge Kjemtrup, The Stage, 13 June 2018

    “The ever-reliable David Soar gave an unusual, sinister Don Basilio with distinct hints of the Steve Bannon about him – at least until the microphone came out in Act 2. His “La calunnia è un venticello” was forcefully but melodiously sung and, as Soar drew out his phone and started tapping his slanders in, could almost have been renamed “The Fake News Aria”, the various members of the chorus gazing at their own devices as Basilio’s tweets started flying.”
    Dominic Lowe, Bachtrack, 11 June 2018

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    12 Apr 18 Britten Gloriana
    Teatro Real, Madird

    “…David Soar seemed fully to inhabit Raleigh in both character and voice.”
    John Allison, Opera, July 2018

    “Leigh Melrose and David Soar both provided hardened edges to Elizabeth’s two right-hand men…”
    David Salazar, Operawire, 13 April 2018

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    18 Dec 17 Bach Weihnachts-Oratorium
    Royal Northern Sinfonia/Lars Vogt

    “David Soar projected power and majesty against Richard Martin’s effervescent trumpet solo, but turned into quite a different king for Herod’s brief appearance in Cantata 6, where his smooth singing showed exactly what the two-faced Herod was up to in his dealings with the Magi.”
    Jane Shuttleworth, Bachtrack, 17 December 2017

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    04 Oct 17 Puccini La bohème
    Metropolitan Opera, New York

    “…the ensemble was vocally strong and well matched: Lucas Meachem as Marcello; Duncan Rock, in his Met debut, as Schaunard; and David Soar as Colline. They were also appealing in their byplay…”
    James R. Oestreich, New York Times, 03 October 2017 

    “Bass David Soar gave an affecting performance as Colline, bringing a rich, earthy tone to the role and giving a simple but moving account of his melancholy Act IV aria, “Vecchia zimarra.”
    Eric C. Simpson, New York Classical Review, 03 October 2017 

    “Lucas Meachem’s beautiful-voiced Marcello was an asset, as was David Soar’s Colline, his last-act aria having just the desired, sad effect.”
    Robert Levine, Classics Today, 05 October 2017

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    02 Jun 17 Handel Semele
    Garsington Opera

    “David Soar sang Somnus as a pyjama-clad reprobate, in an earthy, gravelly bass that contrasted strongly with his delivery as the Suave Cadmus, father of Semele.”
    Amanda Holloway, Opera, August 2017

    “With fine contributions from David Soar (Cadmus/Somnus), this was a splendidly sung performance”
    Barry Millington, Evening Standard, 02 June 2017

    “David Soar’s authoritative bass graced both Cadmus (Semele’s father) and a snoozy Somnus, caressed by his duvet in Act 3.”
    Mark Pullinger, Bachtrack, 02 June 2017

    “…Somnus, God of sleep, (excellent bass David Soar)…”
    Cara Chanteau, The Independent, 05 June 2015

    “David Soar’s fine bass was heard to great advantage as Cadmus and Somnus, he too shining.”
    Melanie Eskenazi, MusicOMH, 05 June 2017

    “David Soar doubled well as Semele’s father and as the god of sleep, Somnus.”
    Mark Valencia, What’s on Stage, 04 June 2017

    “David Soar does a nice double act as paterfamilias Cadmus and drowsy Somnus.”
    Rupert Christiansen, The Sunday Telegraph, 04 June 2017

    “David Soar is amusingly seduced by his own duvet as Somnus, the god of sleep.”
    Richard Morrison, The Times, 05 June 2017

    “The versatile bass-baritone David Soar provided most of the evening’s laughs as Somnus (also doubling as Semele’s father Cadmus).”
    George Smart, Town and Country, 15 June 2017

    “David Soar, too, delivered a quality sound, singing the dual roles of Cadmus and the laughably lethargic Somnus.”
    Chris Proctor, Tribune, 16 June 2017

    “With fine contributions from David Soar (Cadmus/Somnus), this was a splendidly sung performance.”
    Barry Millington, Evening Standard, 02 June 2017

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    05 Dec 16 Elgar The Dream of Gerontius
    Seattle Symphony Orchestra/Edward Gardner

    “Crucial to the production’s success were three soloists who could hardly have been better…David Soar was powerfully impressive as the Priest and the Angel of the Agony.”
    Melinda Bargreen, Seattle Times, 02 December 2016

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    11 Nov 16 Berg Lulu
    English National Opera

    “…David Soar’s overweening Animal Tamer and Athlete…”
    George Hall, The Stage, 10 November 2016

    “ENO has pushed the boat out to cast this show, and there are first-rate performances from…Sarah Connolly (Geschwitz) [and] David Soar (Athlete)…in particular.”
    Rupert Christiansen, The Telegraph, 10 November 2016

    “…David Soar smoothness with just a hint of grit as the Animal Tamer/Athlete…”
    David Karlin, Bachtrack, 10 November 2016

    “David Soar’s attention-grabbing Animal Tamer, who introduces the whole sorry circus, and Athlete were both strong caricatures, trenchantly sung and very sleazy.”
    Peter Reed, Classical Source, 09 November 2016

    “The supporting company is no less distinguished and includes stand-out contributions from some major artists: David Soar as the prologue’s Animal Tamer and, later, the Athlete.”
    Mark Valencia, What’s on Stage, 10 November 2016

    “David Soar makes his mark as the Animal Tamer and Athlete, punching his way into the musical texture.”
    Alexandra Coghlan, Broadway World, 10 November 2016

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    12 Aug 16 Britten A Midsummer Night's Dream
    Glyndebourne Festival Opera

    “…a troupe of fine mechanicals including David Soar (a powerful Peter Quince)…”
    Alexandra Coghlan, The Arts Desk, 12 August 2016

    “[Bottom’s] fellow Mechanicals were a well-knit team, headed by David Soar’s grounded Peter Quince.”
    Mark Pullinger, Bachtrack, 12 August 2016

    “[Matthew Rose’s] singing was excellent, as was David Soar’s diffident Peter Quince.”
    Peter Reed, Classical Source, 11 August 2016

    “Well judged too [is] David Soar’s harassed director Quince.”
    Clare Colvin, Express, 24 August 2016

    “Another strength of Hall’s approach is that the rude mechanicals aren’t crudely parodied or patronised: instead they are presented credibly as “handicraft men”, sincere in their pathetic attempts to please their lords and keep their dignity. David Soar as Quince and Anthony Gregory in Peter Pears’ role of Flute gave particularly sympathetic performances.”
    Rupert Christiansen, The Telegraph, 12 August 2016

    “…the bolder etching of David Soar’s Quince…”
    Yehuda Shapiro, Opera, October 2016

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    20 Jun 16 Mozart Don Giovanni
    Classical Opera/Ian Page

    “Soar has a robust bass…smooth and lyrical.”
    Gavin Dixon, The Arts Desk, 18 June 2016

    “Taking the role of Leporello was redoubtable David Soar, who recently seems to have become the go-to bass for concert opera. I must have underestimated capacity for comedy (he was a splendidly ferocious Friedrich in Chelsea Opera Group’s Das Liebesverbot last year), because he delivered a tour de force. For sheer quality of acting in a non-staged performance, he was superlative: eyebrow twitches, a slightly shambling gait and a moment where he draped himself over his music stand in sheer fatigue at his master’s appetites. As for the voice, its natural authoritative quality was occasionally at odds with the character, but the hefty richness is a real treat to listen to. In the famous “Catalogue” aria, Soar delivered patter singing that was perfectly judged, losing neither speed nor volume. Every word was articulated and coloured with careful consideration of comic impact.”
    Dominic Lowe, Bachtrack, 18 June 2016

    “David Soar’s Leporello was the perfect foil: dour, disheartened but loyal to a master who will happily throw him to the dogs when expediency requires…Soar’s beautiful bass matched his master for allure. ‘Madamina!’was a weary sigh, opening a fine rendition of the Catalogue Aria which pragmatically enlightened Elvira as to her romantic irrelevance.”
    Claire Seymour, Opera, August 2016

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    09 Jun 16 Bellini Adelson e Salvini
    Opera Rara with BBC Symphony Orchestra/Daniele Rustioni

    “David Soar, always a sterling vocal presence, made much of the slimy Geronio’s brief interventions.”
    Yehuda Shapiro, Opera, July 2016

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    18 Apr 16 Handel Saul
    BBC Singers & St James’s Baroque/James O’Donnell

    “David Soar was on fire as Saul, with a bass of brilliant thickness and strength.”
    Sam Smith, MusicOMH, 15 April 2016

    “David Soar was impressive as Saul: even whilst tracing the king’s descent into agitation and madness he remained musically authoritative and controlled.”
    Curtis Rogers, Classical Source, 15 April 2016

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    25 Jan 16 Berlioz Roméo et Juliette
    BBC Symphony Orchestra/Sir Andrew Davis

    “Sometimes you question the wisdom of Friar Laurence’s lengthy final plea for reconciliation over the bodies, but not with bass David Soar, both sensitive and stentorian – a magnificent successor to the likes of Robert Lloyd and John Tomlinson”
    David Nice, The Art’s Desk, 23 January 2016

    “…the extended vocal finale, in which the full BBC Symphony Chorus mopped away the tragedy in a long, hectoring episode, hit home as a tireless David Soar brought Friar Laurence to life with dignified resonance.”
    Mark Valencia, Bachtrack, 25 January 2016

    “David Soar was vocally imposing and a vivid story-teller, the now-full BBC Symphony Chorus responding magnanimously and magnificently to the notion of rejecting enmity; stirring stuff and with something saved for the glorious conclusion. This grand finale can seem long-winded but was here invested with pace and dramatic edge.”
    Colin Anderson, Classical Source, 22 January 2016

    “David Soar, as Friar Laurence, offered vibrating gravitas.”
    Geoff Brown, The Times, 26 January 2016

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    27 Oct 15 Wagner Das Liebesverbot
    Chelsea Opera Group

    “As Friedrich, who makes a relatively late appearance, Soar held the stage with good diction and a wide palette of colours.”
    Alexander Campbell, Classical Source, 25 October 2015

    “In the most important male role, that of Friedrich, David Soar revealed a sinister stentorian bass but he was also alive to the opportunities given him towards the end of Act II scene 2, where the music moves into the minor mode and his vulnerability as a prisoner of his own hormones is exposed.”
    Alexander Hall, Bachtrack, 26 October 2015

    “I only became really interested once David Soar’s Friedrich came into the ‘action’. He – a bass – was quite superb, singing with an assertive gravitas but always keenly aware of his character’s sense of inner turmoil over his public and private convictions/conflictions. Wagner gives him a ruminative aria in Act II Scene 2 which he clearly remembered when composing the role of the Dutchman in Der fliegende Holländer a few years later.”
    Jim Pritchard, Seen and Heard, 26 October 2015

    “Friedrich was sung with focus and authority by David Soar, whose tensile instrument and forbidding presence were exactly what was required; even in this concert performance, he never stepped out of character for one moment.”
    George Hall, Opera, January 2016

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    05 Oct 15 Strauss Salome
    Bournemouth Symphony Orchestra/Kirill Karabits

    “In the smaller roles there was some superb singing notably from David Soar’s charismatic First Nazarene.”
    Alexander Campbell, Classical Source, 02 October 2015

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    10 Jul 15 Delibes Lakmé
    Opera Holland Park

    “That splendid bass David Soar was granitically imposing as the implacable high priest [Nikalantha].”
    Rupert Christiansen, The Telegraph, 10 July 2015

    “…a name to watch out for [is] David Soar, a known quantity and the real bass article as Nilakantha.”
    David Nice, The Arts Desk, 10 July 2015

    “[David Soar] asserts his bass to stunning effect and his enunciation is impeccable.”
    Sam Smith, MusicOMH, 12 July 2015

    “…David Soar’s ringing bass…”
    Martin Kettle, The Guardian, 10 July 2015

    “Fresh from bull-fighting duties as Escamillo at Glyndebourne, David Soar again impressed with his sturdy bass and fine diction as the zealous Nilakantha.”
    Mark Pullinger, Bachtrack, 10 July 2015

    “David Soar gives Nilakantha grit and determination while also managing to combine more than a hint of fanaticism with a degree of sympathy for his diminished status under British rule.”
    George Hall, The Stage, 10 July 2015

    “David Soar was solid as Nilakantha [and] grew in stature through Act 2 and his solemn delivery, together with the magisterial richness and dark colours of his attractive bass, suggested both menace and authority.”
    Claire Seymour, Opera Today, 14 July 2015

    “Dramatic energy comes from David Soar as the priest Nilakantha, whose role is to issue periodic calls for vengeance.”
    Richard Fairman, Financial Times, 12 July 2015

    “Stentorian bass notes distinguish Lakmé’s priestly father Nilakantha, sung by David Soar.”
    Geoff Brown, The Spectator, 18 July 2015

    “Bass David Soar is a dominating Nilakantha.”
    Clare Colvin, Express, 19 July 2015

    “Lakmé’s vengeful father Nilakantha cast a long shadow in David Soar’s baleful performance, his magnificent bass reshaping boo-hiss villainy into something more three-dimensional.”
    Peter Reed, Opera, September 2015

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    27 May 15 Bizet Carmen
    Glyndebourne Festival Opera

    “Bizet’s conception of the toreador Escamillo, for instance, is something that few opera houses today seem able to equal: they find a baritone with either the top notes or the lower register, but here David Soar supplies both and sings with dashing restraint. It’s quite refreshing to encounter an Escamillo like this.”
    John Allison, The Telegraph, 24 May 2015

    “David Soar brings convincing swagger to Escamillo.”
    Hugo Shirley, Financial Times, 26 May 2015

    “David Soar finds all the notes for the wide range required of toreador Escamillo, and exudes macho self-confidence.”
    George Hall, The Guardian, 24 May, 2015

    “David Soar is a credibly heroic Escamillo.”
    Edward Bhesania, The Stage, 26 May 2015

    “A toast, too, to another home-grown soloist, David Soar…the young bass’s star is very much in the ascendant just now, and here he exudes panache both as a swaggering character and as an accomplished singing actor.”
    Mark Valencia, What’s on Stage, 25 May 2015″…the other standout was David Soar’s excellent Escamillo, bass notes secure, charisma set to full-swagger.”
    Mark Pullinger, Bachtrack, 24 May 2015″With rich-toned bass David Soar as a swaggering Escamillo, and silvery soprano Lucy Crowe as a sweetly resolute Micaela, determined to save her fiancé from the gypsy’s clutches, it’s as good a cast as you could wish for.”
    Clare Colvin, Express, 31 May 2015″David Soar was a thrilling Escamillo, bold of presence and singing every note, high or low, with full and fleshy tone – which is rarely something one can take for granted; his macho self-confidence provided an ideal contrast with José’s visible sense of inadequacy.”
    George Hall, Opera, August 2015
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    03 Dec 14 Walton Belshazzar’s Feast
    BBC Philharmonic Orchestra/John Storgårds

    “…soloist David Soar revealed a dark, resonant timbre that possessed an alarming menace. At times Soar’s voice reminded me of Benjamin Luxon…”
    Michael Cookson, Seen and Heard, 12 November 2014

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    22 Oct 14 Elgar The Dream of Gerontius
    BBC Symphony Orchestra/Sir Andrew Davis (Chandos CD, 2014)

    “David Soar’s Priest is commanding in Proficiscere, anima Christiania.”
    Hugh Canning, Sunday Times, 19 October 2014

    “The Priest and the Angel of the Agony have occasionally been assigned to different singers in performances of The Dream of Gerontius, but tradition has mostly followed the example of the Birmingham première. In this recording, both parts are sung by Nottinghamshire-born bass David Soar, who débuted at the Metropolitan Opera as Masetto in Don Giovanni and returned to New York in September 2014 to sing Colline in La bohème. As the Priest in Part One of The Dream of Gerontius, Mr. Soar’s sonorous singing of ‘Proficiscere, anima Christiana, de hoc mundo’ is keenly reflective, his enunciation of the Latin text sensitive but pointed. The Angel of the Agony’s ‘Jesu! by that shuddering dread which fell on Thee’ in Part Two draws from Mr. Soar robustly muscular singing. Mr. Soar’s tonal production is smoother than John Shirley-Quirk’s, and his timbre is lighter than Gwynne Howell’s, but his singing in this performance combines aspects of the former’s incisive utilization of text and uncompromising solemnity of declamation with the latter’s vocal opulence. He is memorable as both the Priest and the Angel of the Agony, brief as their interjections are, but even his dramatic persuasiveness is secondary to the attractiveness of his singing.”

    Joseph Newsome, Voix des Arts, 27 October 2014

    “David Soar, too, sings with lofty projection and unstinting eloquence (his Angel of the Agony is an especially pleasing achievement).”
    Andrew Achenbach, Gramophone, November 2015

    “Bass David Soar is unwaveringly authoritative as both Priest and Angel of the Agony, making a stirring compassionate contribution.  In ‘Proficiscere, anima Christiana’ he manages to avoid pomposity while enlivening the sound, an effect sustained and intensified when the choir joins in force at ‘Go, in the name of Angels’.  This Gerontius is a wonderful achievement, a deeply considered interpretation whose convincing spirituality never seems stuffy or over-reverential.  It takes an honoured place among the finest-ever versions of this much-recorded masterpiece, and would unquestionably be my preferred digital version.”
    Terry Blain, BBC Music Mazagine, December 2014 (Recording of the Month)

    “The composer favoured a real bass over a baritone and David Soar would surely have been his ideal choice.  Intelligent singing allows him to express the Angel of the Agony’s dubious sentiments very convincingly, and the beauty of the voice is a real asset both there and as the Priest at the end of Part 1.  (I’d be happy enough to be carried off into oblivion by singing such as this.)”
    William Hedley, International Record Review, November 2014

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    25 Sep 14 Puccini La bohème
    Metropolitan Opera, New York

    “Colline was sung very well by David Soar, whose aria ‘Vecchia zimarra senti’ brought tears to the eyes.”
    David Browning, Bachtrack, 25 September 2014

    “…the bass David Soar a confident Colline, mellow and unpretentious in his fourth-act aria, ‘Vecchia zimarra.'”
    Zachary Woolfe, New York Times, 25 September 2014

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    14 Jul 14 Verdi Stiffelio
    Chelsea Opera Group at the Queen Elizabeth Hall

    “David Soar displayed a pure beautiful bass of remarkable quality, and he made much of the words.”
    Andrew Porter, Opera, August 2014

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    09 Apr 14 Elgar The Dream of Gerontius
    BBC Symphony Orchestra/Sir Andrew Davis

    “David Soar as an implacable, dark-sounding Priest and Angel of the Agony, and Sarah Connolly as a consummately polished Angel completed the outstanding set of soloists.”
    Andrew Clements, The Guardian, 08 April 2014

    “David Soar’s Priest had just the right smooth, blackish tone and hieratic presence…”
    John Allison, The Telegraph, 07 April 2014

    “David Soar completed the sense of definition and connection with his focused, consistently even solos as Priest and Angel of the Agony, both thrillingly sung and succinctly dramatic.”
    Peter Reed, Classical Source, 06 April 2014

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    25 Oct 13 Britten The Rape of Lucretia
    Glyndebourne on Tour

    “David Soar’s Collatinus [was] almost too beautifully sung to chime with Britten’s ambivalent portrayal.”
    Alexandra Coghlan, The New Statesman, 21 October 2013

    “[Fiona] Shaw’s soldiers splendidly transcend the effeteness of their lines…Duncan Rock’s Tarquinius, and David Soar’s Collatinus are entirely believable as they banter in their bivouac…”
    Michael Church, The Independent, 21 October 2013

    “[Fiona Shaw] depicts Collatinus as an oblivious cuckold yet David Soar makes him three-dimensional and dignified.”
    Mark Valencia, What’s on Stage, 20 October 2013

    “David Soar’s rock-solid Collatinus.”
    David Nice, The Art’s Desk, 20 October 2013

    “[Fiona] Shaw draws magnificent performances from a mostly young cast. The men are just about ideal: Duncan Rock as the gym-buffed Tarquinius, David Soar as the decent Collatinus.”
    Rupert Christiansen, The Telegraph, 21 October 2013

    “Collatinus [is] the sinuous bass David Soar.”
    Stephen Pritchard, The Observer, 27 October 2013

    “All the singing is top quality, with strapping great voices from David Soar (Collatinus) and Duncan Rock, impressive as Tarquinius.”
    Rosenna East, The Big Issue, 22 October 2013

    “Particular praise though, for David Soar’s warm-voiced, poignant Collatinus [and] for Duncan Rock’s brutal, physically imposing, vocally uncompromising Tarquinius.”
    Roger Parker, Opera, December 2013

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    26 Feb 13 Rossini The Barber of Seville
    English National Opera

    “For me, the best of the supporting singers was David Soar as the hypocritical Don Basilio, who only gets one big aria (his entrance aria, a paean to the power of calumny) and sang it with power, flexibility and comic relish.”
    David Karlin, Bachtrack, 26 February 2013

    “The evening’s finest performances come from David Soar as Basilio, who never puts a comic foot wrong and makes a real highlight of his slander aria, and from Andrew Shore, returning to his familiar role of Dr Bartolo.”
    George Hall, The Guardian, 27 February 2013

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    01 Dec 12 Mozart Don Giovanni
    Metropolitan Opera, New York

    “David Soar made an impressive Met debut as Masetto, his voice attractive and even in all registers and his enunciation excellent.”
    Classical Review, December 2012

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    01 Jul 12 Purcell The Fairy Queen
    Glyndebourne Festival Opera

    “David Soar’s delivery of Winter’s aria has magnificent resonance.”
    The Independent, July 2012

    “Among the singers, David Soar’s bass is a properly chilling Winter and a Merlin-like figure whose Hush, no more conjures resonant and dark silences.”
    The Times, July 2012

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    01 Mar 12 Mozart Le nozze di Figaro
    Welsh National Opera

    “The Figaro of this production is David Soar, and he returns to the role with complete assuredness, panache and captivating physicality. He leaps, pirouettes, postures and limps when required, with conviction, bravado and humour. His Italian has a sparkling command and Soar’s rich vocal reserves ensure that he can create a gamut of emotions within well managed Mozartian phrasing. This is a role he deserves to perform frequently and at important houses, as he has an intelligent sense of Figaro’s public and private character, his frustrations and his sense of worth within the class system of the time. Soar’s Figaro hints at the Beaumarchais ideology, but always with beauty of tone and musicality. This is an accomplished, exciting portrayal.”
    Opera Brittania, March 2012

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    01 Sep 11 Mozart Don Giovanni
    Welsh National Opera

    “…despite the dark undertones of rape and murder, WNO have excelled in bringing the comic energy of this popular two-act drama to life without descending into pantomime farce. David Soar can take much of the credit for this, playing the charmingly convincing Leporello, Giovanni’s hard-done-by servant.”

    The Stage, September 2011

    “It was therefore something of a relief to encounter Welsh National Opera’s handsomely designed, no-nonsense traditional new staging in Cardiff, which is well worth seeing for the two brilliant stand-out performances from David Soar and Camilla Roberts alone.”

    Opera Britannia, September 2011

    “David Soar was a fine Leporello, the partnership wholly plausible, Leporello’s confusions and economic needs were equally well articulated. The dialogue between Leporello and his master was, musically and dramatically, an example of what management science calls best practice. It isn’t hard to imagine Soar himself as a top class Don Giovanni in due course.”

    Seen and Heard Opera Review, September 2011

    “David Soar is excellent in the buffo role of Giovanni’s servant Leporello.”
    Coventry Telegraph, November 2011

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Mass in B Minor
Matthäus Passion
Ich habe genug

Symphony No. 9
Missa Solemnis

Roméo et Juliette (Frère Laurent)

Ein deutsches Requiem

Te Deum

The Apostles (Judas)
The Dream of Gerontius
The Kingdom

Samson (Harapha)
Saul (title role)

Die Schöpfung
Die sieben letzte Worte

Symphony No. 8

Elijah (title role)


Petite Messe Solennelle
Stabat Mater

Gurre-Lieder (Bauer)
Ode to Napoleon
A Survivor from Warsaw

Songs of the Fleet
Stabat Mater

Requiem Canticles


Belshazzar’s Feast

Seven Deadly Sins (Mother)


Lulu (Animal Trainer/Athlete)
Wozzeck (1st Workman/Doctor)

La damnation de Faust (Méphistophélès)

Carmen (Escamillo)

Billy Budd (Claggart/Mr Flint)
Gloriana (Raleigh)
A Midsummer Night’s Dream (Bottom/Peter Quince)
Peter Grimes (Swallow)
The Rape of Lucretia (Collatinus)

Lakmé (Nilakantha)

Faust (Méphistophélès)

Semele (Somnus/Cadmus)

Lucrezia Borgia (Alfonso)

Rusalka (Vodnik)

L’incoronazione di Poppea (Seneca)

La clemenza di Tito (Publio)
Die Entführung aus dem Serail (Osmin)
Don Giovanni (Leporello)
Le nozze di Figaro (Figaro)
Die Zauberflöte (Sarastro)

Les contes d’Hoffmann (Lindorf/Coppelius/Miracle/Dapertutto)

La Gioconda (Alvise Badoero)

La bohème (Colline)
Madam Butterfly (Bonze)

The Fairy Queen (Hymen/Sleep/Coridon/Winter)

Il barbiere di Siviglia (Don Basilio)
La Cenerentola (Alidoro)

Salome (First Nazarene)

Eugene Onegin (Gremin)
Iolanta (King René)

The Midsummer Marriage (He-Ancient)

Aida (Ramfis)
Don Carlo (Filippo II)
Macbeth (Banco)
Nabucco (Zaccaria)
Otello (Lodovico)
Rigoletto (Sparafucile)
Il Trovatore (Ferrando)

Das Liebesverbot (Friedrich)
Die Meistersinger von Nürnberg (Nightwatchman)
Das Rheingold (Fasolt/Fafner)
Tristan und Isolde (Marke)
Die Walküre (Hunding)