Duncan Rock

Credit: Paul Mitchell


Baritone Duncan Rock studied at the Guildhall School of Music and Drama and subsequently at the National Opera Studio.

Fast establishing himself as an outstanding young singer and performer he was a Jerwood Young Artist at the Glyndebourne Festival and the recipient of the 2010 John Christie Award.  He was also the winner of the 2012 Chilcott Award – the inaugural award from the Susan Chilcott Scholarship to support a ‘major young artist with the potential to make an international impact’

His engagements in the 2020/21 season include Tarquinius The Rape of Lucretia for the Theatre du Capitole, Toulouse and Achilla Giulio Cesare at the Metropolitan Opera. Recent highlights have also included Silvio I Pagliacci for the Gran Teatro del Liceu in Barcelona; the title role in Don Giovanni for Glyndebourne, the Boston Lyric Opera and Opera Queensland; Pallante Agrippina and SchaunardLa bohème for the Metropolitan Opera; Donald Billy Budd and Schaunard for the Royal Opera and Jan in Missy Mazzoli’s Breaking the Waves at the Edinburgh and Adelaide Festivals.

From The Green Room


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    BERNSTEIN 'Wonderful Town'

    Label: LSO Live

    Release Date: 27 Aug 18

    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/Sir Simon Rattle

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    BRITTEN 'The Rape of Lucretia'

    Label: Opus Arte (DVD)

    Release Date: 29 Jul 16

    Fiona Shaw's production recorded live at the 2015 Glyndebourne Festival

    Lucretia: Christine Rice
    Male Chorus: Allan Clayton
    Female Chorus: Kate Royal
    Tarquinius: Duncan Rock
    Collatinus: Matthew Rose
    Junius: Michael Sumuel
    Bianca: Catherine Wyn-Rogers
    Lucia: Louise Alder

    London Philharmonic Orchestra/Leo Hussain

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    STRAVINSKY 'The Rake's Progress'

    Label: Opus Arte (DVD)

    Release Date: 02 May 16

    John Cox's production recorded live at the 2010 Glyndebourne Festival

    Anne Trulove: Miah Persson
    Tom Rakewell: Topi Lehtipuu
    Father Trulove: Clive Bayley
    Nick Shadow: Matthew Rose
    Mother Goose: Susan Gorton
    Baba the Turk: Elena Manistina
    Sellem: Graham Clark
    Keeper of the Madhouse: Duncan Rock

    London Philharmonic Orchestra/Vladimir Jurowski

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    14 Mar 20 MAZZOLI Breaking the Waves
    Scottish Opera at the Adelaide Festival

    “Charismatic Australian baritone Duncan Rock”
    Diana Simmonds, Limelight, 14 March 2020

    “The vocal accolades extend to Duncan Rock’s nuanced muscularity as Jan Nyman”
    Xenia Hanusiak, The Adelaide Review, 16 March 2020

    “Adding immeasurably to the exceptionalism of this production was the performance of Duncan Rock as Bess’ husband, Jan. While he spent most of the second and third acts on a paraplegic bed, he was core to the story. Rock was convincing in his unfaltering love for Bess, even when, drugged up and with clouded mind, he urged her to have sex with other men since she couldn’t do so with him, maybe a ruse to set her free. His lovely rich baritone voiced his authentic care and affection and his depth of feeling was convincing, especially when, grieving her demise, he sang “Dear God, I thank you for the greatest gift.”
    Brian Angus, Bachtrack, 14 March 2020

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    24 Feb 20 HANDEL Agrippina
    Metropolitan Opera House, New York

    “As Pallante, Duncan Rock played up the role of the self-confident general in his initial appearance before Agrippina. His vibrant sound throughout “La mia sorte fortunate” doubled this sense of strength…  “Col raggio placido della Speranza,” despite putting Pallante in a more discomforting situation dramatically, was delivered with more vocal precision, giving the character confidence in a moment where he seems to be losing it.”
    David Salazar, Operawire, 7 February 2020

    “As Pallante baritone Duncan Rock hit the right balance between manliness and clownishness”
    George Grella, New York Classical Review, 7 February 2020


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    21 Aug 19 MISSY MAZZOLI Breaking the Waves
    Edinburgh International Festival

    “A top-class cast is led by the outstanding American soprano Sydney Mancasola as God-fearing Bess, febrile and loving, and Edinburgh-born baritone Duncan Rock as strange, handsome Jan.”
    Fiona Maddocks, The Guardian, 24 August 2019

    “Duncan Rock’s dark baritone suits the tormented Jan well”
    Simon Thompson, Seen and Heard International, 21 August 2019

    “And you’re never in doubt how much emotional strength Mazzoli invests in her heroine and her unfailing love for her husband, nobly sung by Duncan Rock.”
    Neil Fisher, The Times, 22 August 2019

    “Duncan Rock’s Jan cut a handsome figure in voice and appearance.”
    Andrew Clark, Opera, November 2019

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    17 Jun 19 HUMPERDINCK Hansel and Gretel
    English National Opera at Regent's Park Open Air Theatre

    “…the randy drunk father, Duncan Rook in buoyant form…”
    David Nice, The Arts Desk, 18 June 2019

    “Duncan Rock gives a good performance as the Father.”
    Victoria Ferguson, London Theatre, 18 June 2019

    “Other roles are equally well performed. Rosie Aldridge is the harassed Mother, Duncan Rock the Father who copes better – though through alcohol.”
    George Hall, The Stage, 18 June 2019

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

    “…some crisply focused portrayals of the smaller roles, especially from Duncan Rock as Donald…”
    Andrew Clements, The Guardian, 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, a splendid and rippling Donald from Duncan Rock”
    Peter Reed, Classical Source, 23 April 2019

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    11 Mar 19 BRITTEN The Rape of Lucretia
    Boston Lyric Opera

    “As Tarquinius, Duncan Rock struck a menacing vocal and physical presence, finding both the one-dimensional character’s privileged arrogance and creepy, unquenchable sexual desire. Rock’s Act 2 aria proved the highlight of his performance, his rich baritone capturing the feelings of a man tortured by lust.”
    Aaron Keebaugh, Boston Classical Review, 12 March 2019

    “…Rock humanized his young rake of a Tarquinius (it’s too bad the character disappears after the rape)…”
    Jeffrey Gantz, Boston Globe, 12 March 2019

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    07 Nov 18 BRITTEN Billy Budd
    BelAir Classiques DVD

    “There are some good individual turns among the supporting case, notably Clive Bayley’s Dansker and Duncan Rock’s Donald”
    Richard Fairman, Gramophone, November 2018

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    19 Oct 18 MOZART Don Giovanni
    Opera Queensland

    “…Duncan Rock makes a spectacular Don in this feminist production by Lindy Hume…All their virtues are useless, however, without a great Don Giovanni. And Duncan Rock’s portrayal of the title role indeed merits that adjective. I have seen this opera over fifty years, and I don’t think I have ever seen a performance of the role I’ve admired more. Vocally enormous yet controlled, and capable of the most melting pianissimo (for example in the serenade accompanied by a mandolin), and absolutely commanding in character, he bestrode the stage like a colossus. His conscience unperturbed by his countless female conquests, Rock showed with devastating clarity how Don Giovanni becomes undone by his murder of the Commendatore. This particular consequence of his complete amorality he has not taken into account. In his confrontation with the statue (multiply portrayed by images of the singer Andrew Collis sweeping across the screen) he is afraid, uncertain, yet driven by his ego not to run away. Precise nuances of vocal timing and colour conveyed this in a few seconds.”
    Nicholas Routley, Limelight, 22 October 2018

    ““It’s not about sex, it’s about power….and Don Giovanni had plenty of that; he was the aristocrat with a surmised divine right to seduce and even kill. Lindy Hume saw the man as a sociopath/psychopath and baritone Duncan’s Rock’s superb interpretation showed just that. He had no compassion, no remorse and smiled as he dished out his hurt. And yet, his pleasant manner and apparent sincerity made it easy to understand why the women fell for is charming lines.”
    Eric Scott, Absolute Theatre, 20 October 2018

    “Duncan Rock plays Giovanni as a seductive sociopath, cajoling, funny and charismatic, yet dangerous and destructive. Playing the part of a real beast while looking rather like Disney’s handsome Gaston, Rock was both amusing and detestable at the same time. I guess that is the dilemma of picking the bad-guys…they can be so charming! Rock is a talented young Australian, an equally gifted singer and actor.”
    Weekend Notes, 19 October 2018

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    19 Jun 18 PUCCINI La bohème
    Royal Opera House, Covent Garden

    “Duncan Rock and Fernando Radó shone as Schaunard and Colline”
    Mark Valencia, What’s on Stage, 18 June 2018

    “Duncan Rock’s happy-go-lucky Schaunard”
    George Hall, The Stage, 27 June 2018

    “…the most memorable vocal performances come from an excellent Colline and Schaunard (Fernando Radó and Duncan Rock).”
    Mark Berry, Seen and Heard, 18 June 2018

    “All four of the men are splendidly cast, with American tenor Matthew Polenzani superb as Rodolfo and Fernando Rado (Argentina), Duncan Rock (Australia) and Jeremy White (UK) giving terrific support in the lesser roles as his companions.”
    William Hartston, Express, 29 June 2018

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    12 Apr 18 BRITTEN Gloriana
    Teatro Real, Madrid

    “Duncan Rock’s swaggering Mountjoy”
    John Allison, Opera, July 2018

    “Duncan Rock, with his powerful and rugged baritone and his hostile virility on stage, gave Mountjoy true dramatic relevance.”
    Fernando Remiro, Bachtrack, 16 April 2018

    “Duncan Rock’s Charles Blount was a suitable contrast to Capalbo’s Essex, his voice measured and rock solid (pun intended). He had an elegance that Capalbo didn’t, but it certainly added depth to the world of the Queen’s court.”
    David Salazar, Operawire, 13 April 2018

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    18 Dec 17 BERNSTEIN Wonderful Town
    London Symphony Orchestra/Rattle

    “Duncan Rock…slick and nonchalantly brilliant.”
    Andrew Clements, The Guardian, 17 December 2017

    “Duncan Rock was convincing as the washed-up footballer Wreck.”
    Gavin Dixon, The Arts Desk, 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 

    “Baritone Duncan Rock showed the brightest voice of the three supporting men, offering a lively portrait of the musician Schaunard.”
    Eric C. Simpson, New York Classical Review, 03 October 2017 

    “Scottish debutante Duncan Rock sang Schaunard as if it were a leading role, with a big bright sound that one hopes to hear more of.”
    Robert Levine, Classics Today, 05 October 2017

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    05 Jun 17 MOZART Le nozze di Figaro
    Garsington Opera

    “Duncan Rock made Count Almaviva an almost likeable sexual predator, self-deprecating and revelling gleefully in his mischief. What a subtle comic actor this young baritone is; this was entirely different in tone from his thuggish Don Giovanni on the Glyndebourne Tour last year.”
    Hugh Canning, Opera, August 2017

    “Remarquable couple comte-comtesse: Duncan Rock ressemble au prince Harry, hauteur aristocratique comprise, il fait d’Almaviva le jeune frère de Don Juan, avec son élégance un peu rude, sa prestance un peu brutale et sa beauté sportive, exemplaire lui aussi de timbre et de projection.”
    Culture Box, 08 July 2017

    “There is a predominantly youthful and finely balanced cast. Duncan Rock makes an imposing Count Almaviva whilst Kirsten Mackinnon displays a moving vulnerability and touched the heartstrings in ‘Porgi amor’.”
    Douglas Cooksey, Classical Source, 04 June 2017

    “Duncan Rock’s Count was an interesting proposition. [John] Cox and Rock dispense with vulgar aristocratic assumption, and with buffoonery, and present a Count who is thoughtful and, at times, acute and subtle, but whose duping is thus doubly effective and prompts sympathy alongside gleeful comeuppance. There was the usual incredulity and confusion, but also a genuine wish to understand how it has come about his servants are running rings around him, and a, perhaps, justified disgruntlement at his dependants’ independent wilfulness. Rock balanced aristocratic presumption with human susceptibility.”
    Claire Seymour, Opera Today, 04 June 2017

    “…this Figaro hits the spot, with an attractive, mainly young cast, who so fit their roles it could be a movie. Aussie-Brits Duncan Rock and Joshua Bloom are both charismatic as the Count and Figaro.
    The Mail on Sunday, 11 June 2017

    “This Figaro is set firmly but not pedantically in the late 18th century in which it was written. With veteran director John Cox at the helm, the pacing never falters and characterisations are never less than convincing. Duncan Rock is a swaggering Count Almaviva with Kirsten MacKinnon as his countess, who must suffer his betrayals and buffoonery.”
    Ingo Kjemtrup, The Stage, 05 June 2017

    “Duncan Rock’s dangerous Almaviva”
    Clare Colvin, Sunday Express, 11 June 2017

    “Duncan Rock as a characterful, charmer Count”
    Rebecca Franks, The Times, 08 June 2017

    “Duncan Rock was more than a match [for Figaro] as a suave and lyrical Count Almaviva, by no means an effete aristocratic playboy out of his depth, but a charismatic presence on stage as might be expected from a singer who has also successfully inhabited the role of Don Giovanni.”
    Curtis Rogers, Scene and Heard, 06 June 2017

    “Duncan Rock’s Almaviva who starts off equally commanding, but gets progressively more defensive as the knowledge dawns that everyone is running rings round him. This process is both comic and touching thanks to brilliant acting.”
    Michael Church, The Independent, 05 June 2017


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    08 Feb 17 BRITTEN Billy Budd
    Teatro Réal, Madrid

    “Duncan Rock was a perfect counterpoint to Billy, both vocally and physically, as Donald.”
    Fernando Remiro, Bachtrack, 06 February 2017

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    18 Oct 16 BRITTEN The Rape of Lucretia
    Opus Arte (DVD)

    “Duncan Rock’s Tarquinius is handsomely and passionately sung; with his muscular frame, he looks the part.”
    Christopher Ballantine, Opera, November 2016

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    17 Oct 16 MOZART Don Giovanni
    Glyndebourne on Tour

    “Duncan Rock, strolling around in a smart white dinner jacket, gave a commendable vocal performance as the dodgy don, oozing warmth and seduction with a honied baritone that, until the damnation scene, seemed happily unhurried, embodied in a fine “Deh, vieni alla finestra”, where he reined in the voice to a tender pianissimo, perfectly audible thanks to excellent projection.”
    Dominic Lowe, Bachtrack, 17 October 2016

    “Duncan Rock’s young, handsome Giovanni-a James Bond type in a white tuxedo…was and old-school, swashbuckling ‘burlador de Sevilla’, a charmer, certainly, but one whose bullying instincts easily surfaced…he delivered both of his famous solos – ‘Finch’ han dal vino’ and the Serenade to Elvira’s maid – with the requisite braggadocio for the former and appropriately sweet nothings for the later.  He should go far in the part.”
    Hugh Canning, Opera, December 2016

    “The singers formed a strong, well-characterised cast, headed by Duncan Rock’s suave Don Giovanni – rather than a figure of vulgar self-assertion, the mellow tone of his singing told all the more in the character’s favour in numbers such as ‘Là ci darem la mano’ or the ‘Champagne’ aria to express the captivating power he might have over so many women.”
    Curtis Rogers, Classical Source, 13 November 2016

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    14 Sep 16 JONATHAN DOVE Our Revels now are Ended
    BBC Symphony Orchestra/Sakari Oramo at The Last Night of the Proms

    “Other highlights [included] Baritone Duncan Rock’s measured delivery of Jonathan Dove’s valedictory Our revels now are ended.”
    Nick Kimberley, Evening Standard, 12 September 2016

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

    “Duncan Rock an impetuous Demetrius, polished into manhood by singing of tremendous evenness and gloss.”
    Alexandra Coghlan, The Arts Desk, 12 August 2016

    “…the quartet of lovers– Kate Royal and Elizabeth DeShong as Helena and Hermia, Benjamin Hulett and Duncan Rock as Lysander and Demetrius – were a delight…”
    Rupert Christiansen, The Telegraph, 12 August 2016

    “The four lovers – Duncan Rock (Demetrius), Elizabeth DeShong (Hermia), Benjamin Hulett (Lysander) and Kate Royal (Helena) – rise splendidly to the challenge of their roles, nowhere more so than in their exquisite quartet of reconciliation.”
    Barry Millington, The Stage, 12 August 2016

    “Duncan Rock’s firm baritone made for an heroic-sounding Demetrius.”
    Mark Pullinger, Bachtrack, 12 August 2016

    “It was a pleasure to hear Demetrius sung with such cultivated poise by Duncan Rock.”
    Peter Reed, Classical Source, 11 August 2016

    “Duncan Rock is another house favourite and his Demetrius was as well sung and convincingly acted as we’ve come to expect from him.”
    Melanie Eskenazi, Music OHM, 14 August 2016

    “…Duncan Rock’s sterling Demetrius…”
    Richard Fairman, The Financial Times, 14 August 2016

    “The lovers, Lysander (Benjamin Hulett), Hermia (Elisabeth DeShong), Helena (Kate Royal) and Demetrius (Duncan Rock) were also well cast.”
    Anne Ozorio, Operatoday, 20 August 2016

    “The lovers are nicely defined, Benjamin Hulett’s easy-going Lysander contrasting with Duncan Rock’s impetuous Demetrius.”
    Clare Colvin, Express, 24 August 2016

    “Duncan Rock brought a velvet-gloved punch (and exceptional diction) to Demetrius.”
    Yehuda Shapiro, Opera, October 2016

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    26 Apr 16 RODGERS & HAMMERSTEIN Carousel
    Houston Grand Opera

    “Carnival bad boy Billy (baritone Duncan Rock, solid and rock-like)…Rock is commanding indeed. His famous “Soliloquy,” [which] is powerfully conveyed.”
    D.L. Groover, Houston Press, 25 April 2016

    “Baritone Duncan Rock was a personable Billy Bigelow. He was impressive both for his singing and his acting in his romantic duet If I Loved You with Andrea Carroll’s Julie Jordan. He was stunningly effective in Billy’s Soliloquy, his long scene contemplating his imminent fatherhood.”
    Opera Warhorses, 24 April 2016

    “…baritone Duncan Rock takes on the gruff role of Billy Bigelow with rakish good grace…his instrument is one of overall heft and surprising dexterity.”
    Sydney Boyd, Houstonia, 25 April 2016

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    19 Feb 16 DONIZETTI L'elisir d'amore
    Opera North

    “Duncan Rock’s preening and elegantly sung Belcore avoids all possible boorishness and roughness of delivery.”
    Ronald Simpson, Huddersfield Daily Examiner, 18 February 2016

    “[Adina’s] macho pursuer, Captain Belcore was Duncan Rock who serviced the role with a fine baritone voice. Judging by other performances that I have seen it is a difficult role to pull off.  For example Belcore can be portrayed  as a  pompous buffoon. Duncan Rock added  a degree of Italian male seductive stylishness to the part that convinced.”
    John Leeman, Seen and Heard, 18 February 2016

    “Duncan Rock’s macho Belcore and Fflur Wyn’s sparky Giannetta complete an agile cast.”
    Martin Dreyer, The York Press, 19 February 2016

    “Equally, if not more, memorable is baritone Duncan Rock as swaggering Captain Belcore, who appears with his smirking crew in an immaculate white uniform, riding a Vespa through the tables and chairs. He is the type who might kick sand into the face of a lesser-muscled man, like Nemorino, but he has great comic style, as he flips open a little compartment in his scooter to produce a bunch of red roses for Adina, kicking it shut and proceeding to her table to claim her as his own. Duncan is most compelling, his rich chocolate baritone dominating as he sings “Come Paride vezzoso” (Just as the charming Paris…) in Act I. He also reveals considerable acting talents throughout.”
    Richard Wilcocks, Bachtrack, 18 February 2016

    “Duncan Rock is splendidly self-involved as the vacuous officer Belcore.”
    Alfred Hickling, The Guardian, 26 February 2016

    “Duncan Rock’s macho Belcore, in cool shades and white uniform completed an agile cast.”
    Martin Dreyer, Opera, April 2016

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    19 Oct 15 PUCCINI La bohème
    English National Opera

    “Duncan Rock hits the mark as a robust and sympathetic Marcello.”
    Rupert Christiansen , The Telegraph, 17 October 2015

    “…it was largely because of Duncan Rock’s strapping, volatile, vocally large and open Marcello that the four guys made their presence felt. Rock was good at galvanising the Act Four duo with Rodolfo and excellent at shadowing the main relationship through his tortured enslavement to Rhian Lois’s Musetta.”
    Peter Reed, Classical Source, 16 October 2015

    “Pick of the bohemian boys were the two baritones: Duncan Rock’s sympathetic, warmly sung Marcello…”
    Mark Pullinger, Bachtrack, 17 October 2015

    “With his strong baritone, Duncan Rock is good value as Marcello.”
    Sam Smith, Music OMH, 18 October 2015

    “Duncan Rock as Marcello gave [a] strong performance.”
    Barry Millington, Evening Standard, 19 October 2015

    “Rock’s Marcello, his rough masculinity hiding deep vulnerability, is outstanding.”
    Tim Ashley, The Guardian, 20 October 2015

    “Duncan Rock’s hard-drinking painter Marcello is outstanding.”
    Clare Colvin, Express, 25 October 2015

    “As Marcello, Duncan Rock, looking startlingly like a beefed-up Prince Harry in pyjamas, gave the strongest performance of the evening. His large, rock-solid baritone and easy-going acting made him the most sympathetic character on show.”
    Steve Silverman, Opera Britannia, 24 October 2015

    “Duncan Rock’s Marcello was the stand-out performance…Rock used his powerful baritone to make Marcello a three-dimensional character, at times petulant but with a genuine sense of fun; a young man who seemed ‘real’ and about whom we might care.”
    Claire Seymour, Opera Today, 01 November 2015

    “Duncan Rock created a solidly positive impression, vocally as well as physically, as Marcello, his healthy, medium-weight lyric baritone placing him firmly to the fore of the vocal picture.”
    George Hall, Opera News, January 2016

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    06 Jul 15 BRITTEN The Rape of Lucretia
    Glyndebourne Festival Opera

    “Duncan Rock’s Tarquinius, ‘Panther agile and panther virile’ as the Male Chorus says, was another ideal casting, singing with gloriously open tone and characterizing this difficult role without recourse to superfluous swagger.”
    Melanie Eskenazi, Music OMH, 06 July 2015

    “Duncan Rock’s struttingly macho yet weirdly vulnerable Tarquinius.”
    Rupert Christiansen, The Telegraph, 06 July 2015

    “Duncan Rock returns with robust, virile singing (and terrifyingly brawny physique to match) as the violator Tarquinius.”
    Edward Bhesania, The Stage, 06 July 2015

    “The voices of Christine Rice, Catherine Wyn-Rogers, Louise Alder and Duncan Rock are hauntingly beautiful…the loutish Tarquinius – Duncan Rock, imposing both physically and vocally…”
    David Karlin, Bachtrack, 06 July 2015

    “Duncan Rock’s forthright baritone conveys Tarquinius’s casual destructiveness, in vivid contrast to the caring nature of Collatinus…”
    George Hall, The Guardian, 07 July 2015

    “The men in [Lucretia’s] story become hugely dominating figures, Duncan Rock looming over her Schwarzenegger-like as Tarquinius…”
    Richard Fairman, Financial Times, 07 July 2015

    “The singers are close to ideal and diction throughout the supercharged company is as exemplary as their singing and acting. Duncan Rock is Tarquinius to the life: dangerous, sexual, plausible and regal.”
    Mark Valencia, What’s on Stage, 14 July 2015

    “Duncan Rock a Tarquinius of Schwarzenegger-like physical strength.”
    Richard Fairman, Opera, September 2015

    “Le Tarquinius de Duncan Rock est d’autant plus terrifiant que son physique est séduisant ; hautement testostéronée tant vocalement que physiquement, leur première scène en trio augure du drame à venir et Rock y imprime la rage de timbre d’un conquérant sans foi ni loi.”
    Chantal Cazaux, L’Avant-Scène Opéra, 19 August 2015

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    06 May 15 MOZART Don Giovanni
    Boston Lyric Opera

    “From his fervently shaped ‘Là ci darem la mano’ to his exuberant ‘Finch’han dal vino,’ Rock’s Don Giovanni is a life force, comic, witty, intelligent, never mean-spirited. And his interplay with Kevin Burdette’s Leporello provides the production’s best moments. Burdette makes the most of his ‘Madamina’ catalogue aria, and he does a hilarious impersonation of his master.”
    Jeffrey Gantz, Boston Globe, 03 May 2015

    “In his BLO debut, singer Rock made [Giovanni] vocally convincing, with a powerful, focused baritone brimming with masculine energy.”
    David Wright, Boston Classical Review, 02 May 2015

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    18 Nov 14 BRITTEN The Rape of Lucretia
    Deutsche Oper, Berlin

    “Tarquinius was the baritone Duncan Rock, whose athletic physique features significantly in this production. His voice is strong but smooth, rounded like a fine Lied interpreter but with unquestionable operatic power. His acting is wholly unified, with movements married perfectly to diction and vocal colour. Duncan Rock has everything you could want in an opera singer and more.”
    Max Woods, Bachtrack, 17 November 2014

    “Duncan Rock, plötzlich gar nicht mehr männlich, singt mit hinreißender Intimität und Traurigkeit die schlafende Lucretia an und lässt wenigstens für einen Moment Herzen schmelzen.”
    Lisa Jüttner, Musik Magazin, 24 November 2014

    2A veteran of last year’s performances [Rock] was completely inside his role, which he sang and acted with frightening intensity.”
    Carlos Maria Solare, Opera, February 2015

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    15 Sep 14 VERDI Rigoletto
    Royal Opera House, Covent Garden

    “…exceptional work from Luis Gomes as Borsa, and Duncan Rock as a commanding Marullo.”
    Mark Valencia, What’s on Stage, 13 September 2014

    “…baritone Duncan Rock, a familiar ENO face, makes an efficient house debut as Marullo…”
    David Gutman, The Stage, 15 September 2014

    “There are also strong contributions from Duncan Rock as Marullo and Luis Gomes as Borsa.”
    Sam Smith, Music OMH, 16 September 2014

    “…Duncan Rock’s brutal Marullo…”
    Tim Ashley, The Guardian, 16 September 2014

    “Only Duncan Rock’s noticeable Marullo wears the cod-renaissance costumes with the kind of swagger the staging desperately needs.  He’s a young singer eager to please.  This looked like and audition for Don Giovanni.”
    Hugh Canning, Opera, December 2014

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    06 May 14 PUCCINI La bohème
    Opera North

    “…there’s excellent singing from Duncan Rock, both virile and sensitive as Marcello…”
    Rupert Christiansen, The Telegraph, 06 May 2014

    “Duncan Rock (Marcello) was in warm vocal form and for my money one of the best characterisations.”
    Robert Beale, Manchester Evening News, 15 May 2014

    “The Bohemian lads were notably spontaneous in their knockabouts, having seemingly devised some business on their own.  Duncan Rock’s irrepressible Marcello was the prime mover…”
    Martin Dreyer, Opera, July 2014

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    21 Oct 13 BRITTEN The Rape of Lucretia
    Glyndebourne on Tour

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

    “Duncan Rock’s charismatic Tarquinius…  Rock undercuts Tarquinius’s raffish allure with unnerving intimations of psychotic violence.”
    Tim Ashley, The Guardian, 20 October, 2013

    “The singers are close to ideal, every one of them…it’s an A-list ensemble of exceptional quality, and everyone’s exemplary diction makes the surtitles quite unnecessary. Duncan Rock’s military hunk of a Tarquinius looms dangerously over Claudia Huckle’s vulnerable, shift-clad Lucretia…”
    Mark Valencia, What’s on Stage, 20 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

    “Duncan Rock is a bold, rich-toned and physically beefy Tarquinius.”
    Edward Bhesania, The Stage, 21 October 2013

    “Musically and physically Duncan Rock’s Tarquinius has an imposing muscularity.”
    Andrew Clark, Financial Times, 21 October 2013

    “Baritone Duncan Rock is superb as the brute Tarquinius, all menacing physique and rampant ambition.”
    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

    “Duncan Rock gave us a very virile and brutish Tarquinius and he did an excellent job in depicting the military banter of the opening scene and in showing his descent from imposing general to loutish, sexual thug in the pivotal rape scene.”
    Robert Beattie, Seen and Heard, 21 November 2013

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    12 Aug 13 BRITTEN Billy Budd
    Glyndebourne Festival Opera

    “Duncan Rock gives us a taste of what to expect from his Tarquinius in the forthcoming Glyndebourne The Rape of Lucretia as Novice’s Friend.”
    Alexandra Coghlan, The Arts Desk, 11 August 2013

    “…below decks Duncan Rock stands out as the flogged Novice’s kind friend.”
    Rupert Christiansen, The Telegraph, 12 August 2012

    “Duncan Rock (a budding Billy) makes his mark as the Novice’s Friend.”
    Keith McDonnell, What’s on Stage, 12 August 2013

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    29 Apr 13 PUCCINI La bohème
    English National Opera

    “Duncan Rock’s charismatic Schaunard goes to pieces as Mimì dies.”
    Tim Ashley, The Guardian, 30 April 2012

    “Duncan Rock is a strong and assertive Schaunard.”
    Richard Fairman, The Financial Times, 30 April 2012

    “Duncan Rock rounds out the young artists as a dynamic Schaunard.”
    Alexandra Coghlan,The Arts Desk, 30 April 2013

    “Duncan Rock once again proves that he is the most exciting young baritone on the company’s roster with his faultless portrayal of Schaunard.”
    Keith McDonnell, What’s on Stage, 01 May 2013

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    18 Mar 13 RODGERS & HAMMERSTEIN Carousel
    Théâtre du Châtelet

    “Formidable Billy beau gosse de Duncan Rock, bartyon de grande venue.”
    Jean-Charles Hoffelé, Concert Classic, 20 March 2013

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    18 Jan 13 BRITTEN Billy Budd
    English National Opera

    “…the charisma of Duncan Rock’s Donald, whose striking performance looked like an audition for the title role…”
    Hugh Canning, The Sunday Times, 24 June 2012

    “Duncan Rock’s noticable Donald.”
    Rodney Milnes, Opera, August 2012

    “Some younger singers stood out among a fine supporting cast: Duncan Rock as a virile Donald.”
    Rupert Christiansen, The Telegraph, 19 June 2012

    “Bright young stars emerge from the ensemble – Duncan Rock’s wonderfully virile and ‘present’ Donald.”
    Edward Seckerson, The Independent, 19 June 2012

    “Duncan Rock is a spirited and effective Donald.”
    Sam Smith, Londonist, 20 June 2012

    “The physically and vocally imposing Duncan Rock as Donald, who gives the most rounded performance of the evening. Here is a singer to watch as not only is he a striking stage presence, but he possesses a wonderfully rich baritone voice, that is plainly destined for greatness.”
    Keith McDonnell, What’s On Stage, 19 June 2012

    “We get an unexpected glimpse of how the role [Billy] should go in terms of singing and acting when the baritone singing Donald – Duncan Rock – launches into the ‘We’re off to Samoa’ chorus. Suddenly, Billy Budd was there before us to the life, bluff, rich voiced, even and fully rounded, person handsome, imposing and strikingly charismatic, the exact sort of insouciantly alluring character to whom the other sailors and Vere himself would all fall willing victim.”
    Stephen Jay-Taylor, Opera Britannia, 20 July 2012

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    15 Sep 12 MOZART Die Zauberflöte
    English National Opera

    “Duncan Rock is the tall, personable Papageno, a classy singer and a real charmer.”
    Andrew Clark, Financial Times, 16 September 2012

    “There’s little to fault in the up-and-coming Rock, just announced as the winner of the first Chilcott Award for young singers, and a baritone possessed of much honeyed tone and stage charisma. This is neither the goofiest nor the most tragic Papageno, but it is one of the most honest and amiable, and the Aussie singer does a good impression of a cheeky larrikin, too.”
    Neil Fisher, The Times, 17 September 2012

    “There’s little to fault in the up-and-coming Rock, just announced as the winner of the first Chilcott Award for young singers, and a baritone possessed of much honeyed tone and stage charisma. This is neither the goofiest nor the most tragic Papageno, but it is one of the most honest and amiable, and the Aussie singer does a good impression of a cheeky larrikin, too.”
    Neil Fisher, The Times, 17 September 2012

    “Crucial to the success of any Flute is the role librettist Emanuel Schikaneder originally designed to showcase his own talents – that of the bird-catcher, Papageno. Duncan Rock seems a natural for the part, his antipodean ebullience enabling him to connect ever more confidently with the audience throughout the evening.”
    George Hall, The Guardian, 14 September 2012

    “ENO should congratulate itself on having secured 28-year-old baritone Duncan Rock as Papageno, who this week won the first £10,000 Chilcott award for young British opera singers.  Papageno seemed a bit alarmed when, after asking for a bride to save him from a lonely death, a woman in the second row stalls volunteered her services. It’s an idea that might catch on.”
    Fiona Maddocks, The Observer, 16 September 2012

    “Duncan Rock’s hugely promising Papageno.”
    David Mellor, Daily Mail, 24 September 2012

    “Duncan Rock’s world-class Papageno…was full of rugged charm and charisma.”
    Jim Pritchard, Scene and Heard, 16 September 2012

    “The best singing comes from Australians. Duncan Rock showcases his distinctive vocal timbre in a broad treatment that has him referring to Papagena as a ‘sheila’.”
    David Gutman, The Stage, 14 September 2012

    “Musically, this revival has a good solid cast but for me the two standout performances came from Duncan Rock’s scene-stealing Papageno and Kathryn Lewek’s stratospheric Queen of the Night. Rock is one of the ENO Harewood Artists and winner of the inaugural 2012 Chilcott Award, definitely one to keep an eye on in future. This young Australian baritone boasts a warm and attractive timbre which is beautifully smooth and even across the registers with excellent diction to boot. He has a very natural and easy-going stage presence which makes him instantly likeable, together with a flair for comedy – helped by the added ‘Australianisms’ in his updated spoken dialogue. His ‘Ein Mädchen oder Weibchen’ was delightful and he even managed to inspire a lady in the stalls to volunteer to marry him during the attempted suicide scene (which certainly wasn’t in the script, but which he handled with aplomb). In some ways he reminded me of a young Keenlyside and I hope I’ll get the chance to hear his Don Giovanni at some point.”
    Faye Courtney, Opera Britannia, 25 September 2012

    “Duncan Rock’s portrayal of Papageno, including his subtle communication with the audience throughout (as surely envisaged by Schikaneder, the opera’s librettist and first Papageno), was fully credible. So much so, that it was no surprise to witness a lady in the audience offering to come to the rescue when Papageno considers hanging himself. It is a credit to Rock that he handled this incident skilfully (and acknowledged it gracefully at the curtain calls). Rock’s musical interpretation is full of tonal nuances and serves Mozart’s harmonies superbly.”
    Agnes Kory, Musical Criticism, 18 September 2012

    “Duncan Rock lends refinement as a beautifully-sung Papageno, less knockabout clown than baritone hunk bursting through the feathers, in a performance that suggests future greatness as Mozart’s wicked Don (a role he’s already played to acclaim).”
    Simon Thomas, What’s on Stage, 14 December 2012

    “Rock plays his part to the full, clearly enjoying, and expanding upon, the slapstick and fickle elements to his role.”
    Rachel Phillips, Londonist, 18 September 2012



The Death of Klinghoffer (Mamoud)

Wonderful Town (Wreck)

Carmen (Escamillo)

Billy Budd (Billy)
Death in Venice (English Clerk & Guide)
Gloriana (Mountjoy)
A Midsummer Night’s Dream (Demetrius)
Owen Wingrave (Owen Wingrave)
The Rape of Lucretia (Tarquinius)

L’elisir d’amore (Belcore)

Flight (Steward)

Agrippina (Pallante)
Giulio Cesare (Achilla)

Pagliacci (Silvio)

L’incoronazione di Poppea (Mercurio)

Così fan tutte (Guglielmo)
Die Zauberflöte (Papageno)
Don Giovanni (Don Giovanni)
Le nozze di Figaro (Il Conte)

La bohème (Marcello)
Manon Lescaut (Lescaut)

Carousel (Billy Bigelow)

Oedipus Rex (Messenger)
The Rake’s Progress (Nick Shadow)

The Gondoliers (Giuseppe)

Rigoletto (Marullo)


St John Passion
St Matthew Passion

Missa Solemnis
Symphony no. 9

Ein Deutsches Requiem

War Requiem
Journey of the Magi (Canticle IV)


Te Deum

The Dream of Gerontius



Die Schöpfung
Die Jahreszeiten


A Sea Symphony


Read Duncan’s interview for Limelight (17 October 2018): Don Giovanni has this tofu quality to him

Read Duncan’s interview for The Fame Reporter about singing Don Giovanni for Opera Queensland (October 2018): Duncan Rock

Read Duncan’s interview for QNews Magazine (October 2018): Duncan Rock Takes To The Stage In Opera ‘Don Giovanni’

Read Duncan’s interview for Whats on Stage (05 October 2013): Brief Encounter with…Australian baritone Duncan Rock

Read Duncan’s interview for The Reviews Hub (19 November 2013): 10 minutes with…Duncan Rock