Dominic Sedgwick

Orchestra of the Age of Enlightenment Rising Star

Photo credit: Clare Park


British baritone Dominic Sedgwick was a member of the Royal Opera’s Jette Parker Young Artists Programme 2017-2019 where his roles included Kuligin in a new production of ťa Kabanová, Novice’s Friend in a new production of Billy Budd, Moralès in a new production of Carmen, Marullo Rigoletto, Second Nazarene Salome and Third Ghost Child in the world premiere of Mark-Anthony Turnage’s Coraline.

He returned to the Royal Opera in 2019/20 to sing English Clerk in David McVicar’s new production of Death in Venice and, in the 2020/21 season, he sings Melot in a new production of Tristan und Isolde for the Festival d’Aix-en-Provence.

Dominic’s recent concert engagements include Messiah with the OAE and the RLPO as well as a number of concerts with the OAE featuring Bach Cantatas as part of their Bach, the Universe and Everything series at Kings Place.

He studied at Clare College, Cambridge and is a graduate of the Guildhall School of Music and Drama’s Opera School. He was awarded the Audience Prize in the inaugural 2017 Grange Festival International Singing Competition.



Albert Herring (Sid)
Billy Budd (Billy/Novice’s Friend)
Death in Venice (English Clerk/Guide)
A Midsummer Night’s Dream (Demetrius)
Owen Wingrave (Owen)
The Rape of Lucretia (Junius)

Carmen (Moralès/Le Dancaïre)

Mansfield Park (Edmund Bertram)

Káťa Kabanová (Kuligin)

Don Giovanni (Masetto)
Die Zauberflöte (Papageno)
Il nozze di Figaro (Il Conte)

La bohème (Schaunard)
Madama Butterfly (Yamadori)

Ariadne auf Naxos (Harlequin)
Salome (Second Nazarene)

Die Fledermaus (Falke)

Rigoletto (Marullo)

Oberon (Scharasmin)


St. Matthew Passion
St. John Passion

L’enfance du Christ (Joseph)

Ein Deutsches Requiem


Stabat Mater

The Apostles



Corronation Mass
Mass in C Minor

Dichterliebe (Op. 48)

Donna Nobis Pacem
Five Mystical Songs
A Sea Symphony

  • More info  
    22 Nov 19 Britten Death in Venice
    Royal Opera House, Covent Garden

    “There were also nice cameos from Dominic Sedgwick as the earnest English Clerk…”
    Mark Pullinger, Bachtrack, 22 November 2019

    “Prominent among the many smaller roles are the decent English Clerk, vividly etched by Dominic Sedgwick, and the Strawberry Seller, suitably luscious-sounding in Rebecca Evans’ interpretation.”
    Yehuda Shapiro, The Stage, 22 November 2019

    “Dominic Sedgwick, Rebecca Evans and a host of excellent singers impersonating the passing trade of Venice are all exemplary.”
    Rupert Christiansen, The Telegraph, 22 November 2019

    “It seems unfair to highlight individuals when in fact it was the ensemble which was important, but Rebecca Evans’ was a poignant Strawberry Seller whilst Dominic Sedgwick was a strong English Clerk.”
    Robert Hugill, Planet Hugill, 22 November 2019

    “Dominic Sedgwick [was] exemplary as the English Clerk”
    Richard Fairman, The Financial Times, 25 November 2019

    “The individuals of the company excel, and deserving of especial note are Dominic Sedgwick’s English Clerk, who is the lone deliverer of the truth of Venice’s innate corruption.”
    Clair Seymour, Opera Today, 22 November 2019

    “Among the Edwardian parade of hotel guests, gondolieri and other Venetians, Dominic Sedgwick’s English Clerk (who tells Aschenbach the truth about the cholera in the city) stood out.”
    Peter Reed, Classical Source, 21 November 2019



  • More info  
    21 Jul 19 Jette Parker Young Artists Summer Performance
    Royal Opera House, Covent Garden

    “Baritone Dominic Sedgwick, who catches the eye and ear in everything he essays these days, pulled out two ripe plums from the bran tub of possibilities and delivered them both to an exciting standard. His Pelléas was precisely idiomatic; his Figaro in Rossini’s Il barbiere di Siviglia (the post-thunderstorm trio along with Wu’s Rosina and tenor Thando Mjandana’s exemplary Almaviva) a comic tonic. Both accounts made one long to see him in the full roles.”
    Mark Valencia, Bachtrack, 22 July 2019

    The choice of the Debussy extract was curious as the dramatic power of Pelléas when played complete lies in the gradual build-up of tension – to dive in at the almost midway point immediately set some engagement challenges for the performers. Patrick Milne’s precise conducting had spaciousness but a satisfying sense of foreboding. Hongni Wu’s bright pure tones were heard to great advantage as a Mélisande seemingly more manipulative and intriguingly knowing than many. The forthright Pelléas of Dominic Sedgewick was a great foil – and he made light of the demands of this unusual half-baritone / half-tenor role. In the Rossini extract Hongni Wu returned as an agile and engaging Rosina with Thando Mjandana providing crisp and extrovert support as Count Almaviva. Dominic Sedgewick was a personable and reactive Figaro.”
    Alexander Campbell, Classical Source, 21 July 2019

    “Dominic Sedgwick exuded guileless ardour [and] offered tone of exemplary firmness.”
    Yehuda Shapiro, Opera, October 2019

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

    “There is a notable debut from Sam Furness as the tortured Novice, bullied by Claggart into betraying Billy, while Dominic Sedgwick’s record here of making a standout of cameo parts is unbroken by his Novice’s Friend.”
    Hugh Canning, The Sunday Times, 28 April 2019

    “…the flogged Novice (Sam Furness, strong as always) drags himself at a similar distance from stage left to right, led by his anguished friend (Dominic Sedgwick, a Jette Parker Young Artist who’s already shown promise – a future Billy, perhaps).”
    David Nice, The Arts Desk, 24 April 2019

  • More info  
    04 Feb 19 Janacek Katya Kabanova
    Royal Opera House, Covent Garden

    “The smaller parts were cast from strength…Dominick Sedgwick a convincing Kuligin”
    Melanie Eskenazi, MusicOHM, 06 Feb 2019

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    10 Apr 18 Bizet Carmen
    Royal Opera House, Covent Garden

    “Dominic Sedgwick confirming the excellent first impression of his Marullo in Rigoletto with this noticeable Moralès.”
    Hugh Canning, Opera, May 2018

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    08 Jan 18 Strauss Salome
    Royal Opera House, Covent Garden

    “Kihwan Sim and Dominic Sedgwick made strong impressions as the two Nazarenes.”
    Melanie Eskenazi, MusicOMH, 09 January 2018

  • More info  
    18 Dec 17 Verdi Rigoletto
    Royal Opera House, Covent Garden

    “Jette Parker Young Artists field several smaller roles, headed by Dominic Sedgwick as Marullo.”
    Richard Fairman, The Financial Times, 15 December 2017

    “Nice to see Jette Parker Young Artists past and present in the cast…the British baritone Dominic Sedgwick, made a fine fist of Marullo.”
    Colin Clarke, Seen and Heard, 16 December 2017

    “Noteworthy also [was] Dominic Sedgwick’s Marullo.”
    Philip Eisenbeiss, Interlude, 28 December 2017

  • More info  
    27 Feb 17 Julian Philips The Tale of Januarie
    Guildhall School of Music and Drama

    “Dominic Sedgwick displays a striking baritone as he brings a sense of ease and lightness to some demanding phrases.”
    Sam Smith, MusicOHM, 27 February 2017

    “As the lovesick Damyan, Dominic Sedgwick set himself clearly apart with his warm, honest baritone; immediately, we were rooting for him to get the girl.”
    Jenna Simeonov, Schmopera, 02 March 2017

  • More info  
    31 Oct 16 Tchaikovsky Iolanta
    Guildhall School of Music and Drama

    “It was easy to imagine Dominic Sedgwick’s high, elegant baritone fitting Pelléas like a glove, and he was excellent as the conflicted Duke Robert.”
    Peter Reed, Classical Source, 31 October 2016

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    03 Sep 16 Britten Owen Wingrave
    British Youth Opera

    “…Owen’s peace aria is sung by Sedgwick with guileless clarity and a sweet, clean tone against a tattered CND banner.”
    Anna Picard, The Times, 06 September 2016

    “Sedgwick paints Owen as an intense, earnest outsider and proves entirely convincing within the limitations of the character as written.”
    Mark Valencia, What’s on Stage, 05 September 2016

    “In the title role Dominic Sedgwick was convincing and sang with poise.”
    David Truslove, Classical Source, 03 September 2016

  • More info  
    22 Feb 16 Britten The Rape of Lucretia
    Guildhall School of Music and Drama

    “Dominic Sedgwick was compelling as the tricky Junius, who, knowing his own wife to be unfaithful, eggs on Tarquinius with an impressive display of self-interested spite.”
    Peter Reed, Classical Source, 22 February 2016