Mark Stone


Baritone Mark Stone studied mathematics at King’s College, Cambridge, and singing at the Guildhall School of Music and Drama. In 1998 he was awarded the Decca Prize at the Kathleen Ferrier Awards.

Recent operatic engagements include the title role in Don Giovanni at the Deustche Oper Berlin, Hamburg State Opera and at the New Zealand Opera; Mountjoy (Gloriana) and Valmont (Francesconi’s Quartett) at the Royal Opera House, Covent Garden; Storch (Intermezzo) at Garsington Opera; Ned Keene (Peter Grimes) with the London Philharmonic Orchestra and Vladimir Jurowski and at the Beijing Festival; Il Conte (Le nozze di Figaro) at the Welsh National Opera and in Hamburg; Faninal (Der Rosenkavalier) for the City of Birmingham Symphony Orchestra with Andris Nelsons; Kurwenal (Tristan und Isolde) for the London Symphony Orchestra with Daniel Harding and tours to the U.S as the Ferryman in Netia Jones’ acclaimed production of Britten’s Curlew River. His many roles at the English National Opera have included Don Giovanni, Il Conte (Le nozze di Figaro), Guglielmo (Cosi fan tutte), Marcello (La bohème), Figaro (Il barbiere di Siviglia), Enrico (Lucia di Lammermoor), Silvio (I Pagliacci), Chou-en-Lai (Nixon in China) and Prince Yamadori in Anthony Minghella’s production of Madama Butterfly.

In the U.S. he has appeared regularly at the Philadelphia Opera where his roles include Ford (Falstaff), Germont Pere (La Traviata), the title role in Gianni Schicchi and most recently Papageno (Die Zauberflöte). He has also sung Guglielmo (Così fan tutte) in Santa Fe.

Recent concerts include the New York Philharmonic with Thomas Adès (Totentanz), Rotterdam Philharmonic and James Gaffigan (A Sea Symphony), the Kammerorchester Basel and Paul Goodwin (Messiah), the São Paulo Symphony Orchestra (Stravinsky Canticles), Orchestre Dijon Bourgogne and Gergely Madaras (Brahms Requiem), Helsinki Philharmonic, CBSO and the Royal Liverpool Philharmonic with John Storgards (Belshazzar’s Feast), and the BBC Scottish Symphony Orchestra with Andrew Manze (A Sea Symphony).

A keen recitalist, he has sung in New York at Carnegie’s Weill Hall; at Wigmore Hall and St John’s Smith Square in London; at the Oxford Lieder Festival and Buxton Festivals.



  • More info  
    QUILTER: The Complete Song Book (Vol. 1)

    Label: Stone Records

    Release Date: 05 Jun 20

    Mark Stone (baritone)

    Stephen Barlow (piano)

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    Adès Conducts Adès

    Label: Deutsche Grammophon

    Release Date: 28 Feb 20

    Mark Stone (baritone)

    Kirill Gerstein (piano)

    Christianne Stotijn (mezzo-soprano)

    Boston Symphony Orchestra, Thomas Adès

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    VAUGHAN WILLIAMS: A Sea Symphony

    Label: Onyx

    Release Date: 30 Nov 18

    Sarah Fox (soprano)

    Mark Stone (baritone)

    James Ehnes (violin)
    Royal Liverpool Philharmonic Orchestra / Andrew Manze

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    NIELSEN: Complete Symphonies

    Label: Chandos

    Release Date: 08 Jun 15

    John Stordards

    BBC Philharmonic

    Gillian Keith, Mark Stone

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    BRITTEN: Gloriana

    Label: Opus Arte (DVD)

    Release Date: 25 Nov 13

    Orchestra of the Royal Opera House

    Susan Bullock, Toby Spence, Mark Stone, Kate Royal, Jeremy Carpenter, Clive Bayley, Patricia Bardon, Brindley Sherrat and Paul Daniel

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    JETHS: Hotel de Pékin, Dreams from a dragon queen

    Label: Challenge

    Release Date: 10 Sep 13

    Michael Schonwandt

    Netherlands Radio Chamber Philharmonic

    Monique Krus, Dennis Wilgemhof, Mark Stone

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    IRELAND: The Complete Songbook

    Label: Stone Records

    Release Date: 01 Jul 13

    Mark Stone and Sholto Kynoch

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    QUILTER: The Complete Song Book (Vol. 1)

    Label: Sony BMG

    Release Date: 02 Apr 13

    Mark Stone and Stephen Barlow

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    SONDHEIM: Sweeney Todd

    Label: BR Klassik

    Release Date: 28 Jan 13

    Ulf Schirmer

    Munchner Rundfunkorchester

    Chor des Bayrischen Rundfunks

    Jane Henschel, Mark Stone

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    VARIOUS: English Love: Songs of Passion, Pain & Pleasure

    Label: Stone Records

    Release Date: 01 Jan 13

    Mark Stone and Stephen Barlow

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    BRITTEN: War Requiem

    Label: Northstar recording

    Release Date: 28 May 12

    Netherlands Radio Philharmonic Orchestra
    Netherlands Radio Choir
    Netherlands Children’s Choir

    Mark Stone, Jan van Zweden, Reinbert de Leeuw

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    MOZART: Opera Arias

    Label: Sony BMG

    Release Date: 02 Dec 12

    Classical Opera Company and Ian Page

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    BUTTERWORTH: The Complete Songbook

    Label: Stone Records

    Release Date: 15 Mar 10

    Mark Stone and Stephen Barlow

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    OFFENBACH: Vert-Vert

    Label: Opera Rara

    Release Date: 01 Feb 10

    David Parry

    Philharmonia Orchestra

    Lucy Criwe, Toby Spence, Ann Taylor, Loic Felix, Jennifer Larmore, Sebastien Droy Franck Leguerinel, Mark Stone

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    BRITTEN: Billy Budd (Bosun)

    Label: Virgin Classics

    Release Date: 14 Sep 08

    London Symphony Orchestra and Chorus
    Nathan Gunn, Alasdair Elliott, Daniel Teadt, Matthew Best, Mark Stone, Joseph Cullen and Daniel Harding

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    TCHAIKOVSKY: Overtures & Fantasies

    Label: EMI

    Release Date: 08 Jan 07

    Orchestra dell’ Accademia Nazionale di Santa Cecilia
    Antonio Pappano

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    BELLINI: La Straniera (Il barone di Valdeburgo)

    Label: Opera Rara

    Release Date: 01 Jan 07

    London Philharmonic Orchestra
    Patrizia Cofi, Mark Stone, Dario Schmunck, Enkelejda Shkosa, Graeme Broadbent, Roland Wood, Aled Hall and David Parry

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    OFFENBACH: Entre Nous – Celebrating Offenbach

    Label: Opera Rara

    Release Date: 01 Jan 07

    London Philharmonic Orchestra
    Jennifer Lanmore, Alastair Miles, Yvonne Kenny, Mark Stone, Diana Montague, Laura Claycomb, Elizabeth Vidal, Colin Lee, Loic Felix, Mark Wilde, Cassandre Berthon, Mark le Brocq, Alexandra Sherman, Andre Cogner and David Parry

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    BERLIOZ: Les Troyens (Un chef Grec)

    Label: LSO Live

    Release Date: 01 Jan 01

    London Symphony Orchestra

    Ben Heppner, Michelle DeYoung, Petra Lang, Sara Mingardo, Mark Stone and Sir Colin Davis

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    04 Feb 20 BARRY Alice's Adventures Under Ground
    Royal Opera House, Covent Garden

    “Barry’s music then undeniably poses real challenges to the dedicated double cast assembled here.

    And the singers have to be versatile; for instance, the accomplished British baritone Mark Stone (who will be performing Wotan in Norway next month) has to sing ‘The White Knight, The Cheshire Cat, a Soldier, Bottle 3, Cake 3, Baby 3, Oyster 3, Passenger 5, and Daisy 3’.

    All these varied elements are brilliantly held together by conductor Thomas Ades, but what makes the show really work is Antony McDonald’s virtuosic staging, plus his designs, based on Victorian illustrations, which makes the 19th-century stage within a stage assembled a constant joy.”

    David Mellor, The Daily Mail, 08 February 2020


    “The remainder of the cast — Sam Furness, Peter Tantsits, Mark Stone, Clare Presland and Hilary Summers — similarly excel in multiple roles.”

    Barry Millington, The Evening Standard, 05 February 2020

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    16 Nov 19 PUCCINI La boheme
    Copenhagen Opera Festival

    “Mark Stone was brilliant from the first step he put on stage…”
    Henriette Devantier, UNGT Teater Blod, 17 November 2019

    “…hele ensemblet synge smukt og engageret: Mark Stone som Marcello…”

    “…the entire ensemble [sang] beautifully and engaged: Mark Stone as Marcello…”
    Ulla Stromberg, Kultur Kupeen, 17 November 2019

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    05 Jun 19 WAGNER Rheingold (Alberich)
    Longborough Festival Opera

    “The production was distinguished by singers of international quality. In the opening moments – when the dwarf Alberich comes lecherously across the Rhinemaidens – this becomes immediately obvious through the exceptional performance of baritone Mark Stone, who has a perfect voice for the part, and acting skills of the highest order.”
    Simon Heffer, Telegraph, 16 June 2019

    “the singing was absolutely first class, especially from Mark Stone, a revelation as Alberich (more Wagner from him please)”
    David Mellor, Mail on Sunday, 15 June 2019

    “Longborough has won renown as a house for Wagner, and this summer it has boldly embarked on its second full staging of the Ring. I saw Das Rheingold there earlier this month, in a solid performance chiefly remarkable for Mark Stone’s Alberich.”

    Rupert Christiansen, The Sunday Telegraph, 23 June 2019

    “Darren Jeffrey is a physically imposing Wotan, outperformed by Mark Stone’s tremendous Alberich, in a performance worthy of any stage”
    Hugh Canning, The Times, 16 June 2019

    “Among the cast, Mark Le Brocq’s foppish, sardonic Loge and Mark Stone’s vocally authoritative Alberich stand out, managing to create stage personalities to match the strength of their musical ones”
    Andrew Clements, Guardian, 6 June 2019

    “However, perhaps the most rounded portrayal was that of the Alberich of Mark Stone, who was outstanding vocally and visually, with his eyes frightening the audience as he cursed all with the loss of the ring. His portrayal with his deep baritonal quality is undoubtedly destined for a bigger stage.”
    Opera Spy, 11 June 2019

    “the nimble and dishevelled Mark Stone as Alberich, utterly persuasive in voice and single-minded ambition”
    David Truslove, Opera Today, 13 June 2019

    “…the equally impressive but appropriately tougher-toned Alberich of Mark Stone, a compelling characterisation…”

    Yehuda Shapiro, Opera Magazine, August 2019



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    17 Feb 19 WAGNER Götterdämmerung (Gunther)
    Grand Théâtre de Genève

    “Erstaunlich ist in Genf, dass der schwedische Siegfried und der englische Gunther dem Ideal näher kommen als die deutsche Brünnhilde.
    Wortprägnant und stimmschön leiht Mark Stone dem Gunther seinen prachtvoll strömenden Bariton. Es wird nicht lange dauern, bis die größten Opernhäuser auf diese tolle Besetzungsalternative im engen Markt der Wagnersänger aufmerksam werden.”

    “It is astonishing in Geneva that the Swedish Siegfried and the English Gunther come closer to the ideal image than the German Brünnhilde.
    Powerful with words and with a voice of great beauty, Mark Stone’s lyrical, mellifluous baritone lends itself perfectly to Gunther… It will not take long for the big opera houses to become aware of this terrific alternative cast in this narrow market of Wanger singers.”

    Peter Krause, Concerti, 19 February 2019 

    “Mark Stone, impeccable baryton, est un Gunther dont la présence scénique et les qualités de timbre et de projection expriment davantage la noblesse du personnage qu’une veulerie à laquelle on a du mal à croire – et qui réussit à se faire entendre à la fin de l’acte II.”

    “Mark Stone is an impeccable baritone. As Gunther he has such a strong stage presence and excellent qualities of timbre and projection that fit in perfectly with the nobility of the character with a spinelessness that is difficult to believe – not forgetting how he succeeds in making himself heard at the end of act II.”

    Fabrice Malkani, Forum Opera, 17 February 2019 

    “Le baryton Mark Stone campe un Gunther solide et fort musical”

    “Baritone Mark Stone presents a solid and musically strong Gunther”

    José Pons, Olyrix, 20 February 2019

    “Mark Stone singt einen vorzüglichen Gunther, stark in der Diktion, seinen Bariton für die schwächliche Figur angemessen weich einsetzend.”

    “Mark Stone sings an exquisite Gunther, strong in his diction, his soft baritone voice is perfect for his portrayal of the impotent character.”
    Kaspar Sannemann, oper aktuell, 17 March 2019

    “La baryton britannique Mark Stone incarne un Gunther plus altier que veule, à la voix solide et bien projetée.”

    “British baritone Mark Stone embodies a more egotistical than helpless Gunther, with a strong and well projected voice.”

    Emmanuel Andrieu, Opera Online, 10 March 2019

    “Saluons enfin le superbe Gunther de Mark Stone qui offre une très belle voix de baryton à son personnage. Lors du trio final du deuxième acte, l’évocation de la vengeance, associée au grondement des cuivres, est admirable.”

    “Finally, there was Mark Stone’s superb Gunther who projects a baritone voice of exquisite beauty in his character. In the final trio of the second act, the evocation of revenge, associated with the roar of the brass, is praiseworthy.”
    Thomas Muller, backtrack, 12 March 2019

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    18 Dec 18 Vaughan Williams: A Sea Symphony Royal Liverpool Philharmonic Orchestra
    CD on Onyx

    “Andrew Manze Ralph Vaughan Williams series with the Royal Liverpool Philharmonic Orchestra and choir for Onyx continues with A Sea Symphony (soloists Sarah Fox and Mark Stone) and The Lark Ascending (soloist James Ehnes). Previous releases (Symphonies 2 and 8 in 2016, 3 and 4 in 2017, and 5 & 6 earlier in 2018) should leave listeners in no doubt that this is a significant series.

    Here we start at the beginning, with what is effectively the first symphony, premiered in 1910. Given that Martyn Brabbins recorded A Sea Symphony with the BBC Symphony Orchestra for Hyperion recently, (please read more here) one might ask whether one should choose between the two. But such comparisons are meaningless: simple either/or judgements don’t develop listening skills. Every good performance has something of merit, whatever the pros or con. Manze has by far the stronger soloists, though on balance, Brabbins offers more in terms of orchestra and chorus. We need them both. Be glad that we live in an age where we get variety !

    If this A Sea Symphony doesn’t begin with quite the dramatic spectacle it might, though the timpani roll and trumpets blaze, Manze compensates by emphasizing the undercurrents : the strings surge, suggesting the undertow from which the sprightly woodwinds emerge. This highlights the “A Song for All Seas, All Ships”. Mark Stone’s rich deep baritone rings out. A truly vigorous “Today a brief rude recitative” : the sailor here is a distinctive individual with the confidence to confront whatever may lie ahead, particularly appropriate in the context of the composer’s career at that point. Stone captures the shanty rhythm in the line “a chant for the sailors of all nations, Fitful, like a surge”. This creates contrast with the soprano (Sarah Fox) and her more esoteric text, and the refined choral section that follows, so when the baritone returns, the chorale-like structure in the movement is revealed. If anything, Stone is even more impressive in the second movement, “On the beach, at night, alone” where subtle nuance is of the essence. Manze’s restraint in the second movement throws the Scherzo into high relief : pounding figures, wild, scurrying lines, swirling strings . While Brabbins brings out the colours of Debussy and Ravel in Vaughan Williams, Manze is rewarding in the Elgarian moments, especially in the final movement, The Explorers, which has elements of the transfiguration in The Dream of Gerontius.

    The first part of the final movement is reverential, but as the pace speeds up, it comes thrillingly to life. “Oh we could wait no longer! ” sings Stone. Stone and Fox complement each other : very well-balanced and articulate, harps, winds and violin adding further illumination. When Stone sings “O soul thou pleasest me”, the warmth in his tone suggests genuine delight. This is significant, given that the baritone and soprano may represent earthly and spirtual forces at last united in harmony. Thus the outburst of ecstasy on “O Thou transcendant”. While A Sea Symphony is secular, it may stem from traditions older and deeper than the poetry of Walt Whitman. One wonders what Vaughan Williams might have done with Solomon’s Song of Songs as a work for solo voices.

    Combining A Sea Symphony and The Lark Ascending on one disc makes musical sense, the violin (soloist James Ehnes) taking up where the violin left off in A Sea Symphony. In marketing terms, the sheer popularity of The Lark Ascending would be persuasive, especially for those relatively new to the works.Brabbins’s pairing of A Sea Symphony with the more unusual Darest thou now, O soul, will appeal to listeners with more advanced musical interests. Though The Lark Ascending is so beautiful that it’s almost impossible to spoil, truly exceptional performances are not that easy to come by. Ehnes, Manze and the Royal Liverpool Philharmonic Orchestra give a very good and satisying account.”

    Classical Iconoclast, 19 December 2018

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    20 Sep 18 Britten Peter Grimes
    Brisbane Festival

    “The calibre of singing on offer is all but flawless… Mark Stone as Captain Balstrode kept the night on an even keel with his rugged baritone”

    Maxim Boon, Arts Hub, 2 September 2018

    “The male cast were particularly impressive… English baritone Mark Stone was a strong vocal and dramatic presence as Captain Balstrode”

    Trevor Jones, The Conversation, 21 September 2018

    “British baritone Mark Stone was a firm yet empathetic Balstrode, his voice rich with emotion in the final act”

    Angus McPherson, Limelight, 21 September 2018

    “the baritone Mark Stone provided stoic strength as Grimes’s friend Captain Balstrode, a voice of reason in the madness”

    Clarissa Sebag-Montefiore, The Guardian, 21 September 2018

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    23 Jun 18 Verdi La traviata
    Longborough Festival Opera

    “Mark Stone’s moralistic Giorgio Germont…persuades with warmer tone and character”

    David Truslove, Classical Source

    “Mark Stone reveals an immensely powerful baritone as Germont, throwing his arms out every time he sings ‘Piangi’ to make his proclamation to weep even more overwhelming.”

    Sam Smith, Music OMH, 28 June 2018

    “Mark Stone’s Giorgio Germont is powerfully sung”

    Charlotte Valori, Bachtrack, 28 June 2018

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    09 Feb 18 George Benjamin and Martin Crimp Written on Skin

    “Stone’s richly expressive baritone contains such warmth that when he turns suddenly and destructively violent, it is genuinely shocking. He acts as the Protector not as a purely hateful brute but as a conflicted, tortured man.”
    Cameron Kelsall, Broad Street Review, 11 February 2018

    “While Benjamin’s vocal writing eschews arias in favor of longer narratives, the vocal writing is virtuosic and rewarding. A lot of it lies very high, and calls for long arcs of pure, straight tone—a challenge met with ease by Mark Stone”
    David Fox , Philly Mag, 12 February 2018


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    24 Nov 17 Verdi Falstaff
    Liverpool Philharmonic Hall

    “And I’ve never seen baritone Mark Stone, stepping in for Anthony Clark Evans, give a better performance than this Ford; it’s no small order to match Terfel for tone and character, but his energised acting was absolutely up to the mark and the jealousy aria gave the biggest goosebumps in the show.”
    David Nice, The Arts Desk, 27 November 2017

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    26 Jun 17 Rossini Il Turco in Italia
    Garsington Opera

    “Vocally, things are more mixed, with Mark Stone’s Prosdocimo at the top of the class. Stone has a strong, smooth-timbred voice and his acting is superb – he is the perfect puppetmaster, literally manhandling the other characters around the stage to suit the way he wants the play he’s writing to develop, or railing when they fail to obey his intentions – but his acting is also supported by clever accenting to always mark his voice out from any surrounding orchestral or chorus wash”
    ★★★★ David Karlin, Bach Track, 27 June 2017

    “That excellent baritone Mark Stone sang the poet with a twinkle in his eye and an immaculately focused timbre – which that brings me to the revival’s trump card, its singers.”

    ★★★★ Mark Valencia, What’s On Stage, 30 June 2017

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    02 Jun 17 Barry/Beethoven Beethoven Cycle
    Barbican Centre, London

    “The solo part was taken by the baritone Mark Stone who ran the gamut of his vocal scope, the dark honey of his lower range interrupted by jarring bouts of skilful falsetto. In a work such as this, attention to the text is vital and Stone showed impeccable diction and a fine emotional range.”

    ★★★★ Dominic Lowe, Bachtrack, 4 June 2017

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    02 Mar 17 Berg Wozzeck
    Grand-Théâtre de Geneve

    “Jennifer Larmore (Marie) et Mark Stone (Wozzeck), extraordinaires interprètes du chef-d’œuvre d’Alban Berg représenté à l’Opéra des Nations … Ainsi, dans les rôles principaux, Mark Stone (Wozzeck) et Jennifer Larmore (Marie) impressionnent par leur aisance technique, par un sans-faute miraculeux. Mais surtout, ils bouleversent par la puissance de l’incarnation des personnages, par la qualité de leur jeu scénique.”

    “Jennifer Larmore (Marie) and Mark Stone (Wozzeck) are extraordinary interpreters of Alban Berg’s masterpiece at the Opera des Nations… Mark Stone (Wozzeck) and Jennifer Larmore (Marie) impressed by their technical ease, by a miraculous faultlessness. But above all, they overwhelmed by the power of the incarnation of the characters, by the quality of their scenic play.”

    Rocco Zacheo, Tribune de Genève, 3 March 2017

    “La distribution vocale est parfaitement homogène et de très haut niveau. Avec sa voix puissante et bien timbrée, Mark Stone incarne un Wozzeck qui essaie tant bien que mal de se battre et de garder un semblant de dignité, ce qui rend sa déchéance encore plus bouleversante.”

    “The vocal distribution is perfectly homogeneous and of very high level. With his powerful and well-timed voice, Mark Stone is a Wozzeck who tries hard to fight and keep a semblance of dignity, making his downfall even more upsetting.”

    Claudio Poloni, Concerto, 6 March 2017

    “Der Wozzeck (Mark Stone), stammt aus England, ist also wohl Britten-erfahren und weiss die emotionale Seite der sprachlichen Artikulation höchst genau zu treffen.”

    “Wozzeck (Mark Stone), coming from England, is probably Britten-experienced and knows the emotional side of the linguistic articulation to meet very precisely.”

    Derek Weber, Klassikinfo, 5 March 2017

    “In the title role Mark Stone commands the stage, a tortured electricity shining in his wide eyes and nervous salutes. There are some real standout moments: his deep growl on ‘Still! Alles still’, his splendid Sprachgesang – ‘Ich seh’ nichts’.”

    Elodie Olson-Coons, Bachtrack, 3 March 2017

    “Harnaché comme une bête de somme à une carriole agricole, Mark Stone en Wozzeck déploie le large spectre de sa voix dans son cri de désespoir humilié “Wir arme Leut” mais cette complainte n’a plus son caractère de résistance face au capitaine, celui-ci étant parti s’habiller. La prononciation de l’interprète du rôle-titre est intelligible et éloquente, faisant claquer les consonnes dentales et palatales, allongeant les sifflantes et chuintantes, arrondissant les voyelles.”

    “Harnessed like a beast of burden to an agricultural cartridge, Mark Stone in Wozzeck deploys the broad spectrum of his voice in his humiliated cry of despair “Wir Arm Leut”, but this lament no longer has its character of resistance to the captain, the one he since left to dress. The pronunciation of the title role interpreter is intelligible and eloquent, snapping the dental and palatal consonants, lengthening the sibilant and chocking, round the vowels.”

    Charles Arden, Olyrix, 4 March 2017

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    06 Nov 16 Adés Totentanz
    Boston Symphony Orchestra

    “Stone’s Death was as implacable as he was powerful”
    Jeffrey Gantz, The Boston Globe, 4 November 2016

    “Mark Stone, making his BSO debut, sang with laser-like intensity and cold presence as Death. His opening lines set a sobering reminder: no one, he tells the listeners, lives forever.”
    Aaron Keebaugh, Boston Classical Review, 4 November 2016

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    25 Sep 16 De Raaff Atlantis
    Concertgebouw Amsterdam

    “The powerful, versatile baritone Mark Stone had a busy night as he was also the soloist after the break in Diepenbrock’s Les elves and the fantastic performance of Szymanowski’s Stabat Mater in the Polish version.”
    Joe Stapel, NRC, 25 September 2016

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    01 Jul 16 Verdi Rigoletto
    Nevill Holt Opera

    “Mark Stone made a vocally robust Rigoletto”
    Rupert Christiansen, The Telegraph, 17 June 2016

    “This summer’s Rigoletto was cast in depth, with a superlative, disturbingly eerie performance by Mark Stone in the title role’…’echoing the gloomy, hopeless pessimism of Stone’s Rigoletto, the power and pain in his voice bespeaking a strange sort of innocent naivety.”
    Roderic Dunnett, Opera Magazine, August 2016

    “So terrifying was Stone’s searing central performance you would have thought he was a crazed murderer himself. Obsessive, staring-eyed, unnerving and virtually foaming in his fatal desire for revenge, Stone painted a picture (‘He is crime and I am punishment’) of almost psychopathic proportions: That he is gulled into engineering his own (and Gilda’s) undoing is a deadly paradox.”
    ★★★★★ Roderic Dunnet, Opera Now, September 2016

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    21 Feb 16 Mozart / Langer Le nozze di Figaro / Figaro Gets a Divorce
    Welsh National Opera

    “David Stout’s Figaro was triumphant in Marriage and cynically depressed in Divorce; strong but not so striking as Mark Stone’s Count, who was every inch Mozart’s lecherous aristocrat, slipping, cuckolded, into Langer’s emigré gambler.”
    ★★★★ Steph Power, The Independent, 22 February 2016

    “Together Watts and Mark Stone’s excellent Count made this a highlight of the evening.”
    ★★★★ Sebastian Petit, Back Stage Pass, 23 February 2016

    “[Mark Stone] singing and acting with a touching sincerity”
    ★★★★ Rupert Christiansen, The Telegraph, 22 February 2016

    “Outclassed by Mark Stone’s Count Almaviva.”
    Rian Evans, The Guardian, 19 February 2016

    “The cast is strong, especially on the male side, with Mark Stone as the Count and David Stout as Figaro.”
    Richard Fairman, The Financial Times, 22 February 2016

    “Mark Stone’s Count is again excellent”
    ★★★★ Rian Evans, The Guardian, 22 February 2016

    “A lyrical and brooding Mark Stone is the miserable Count”
    Mark Valencia, What’s on Stage, 22 February 2016

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    24 Oct 15 Brahms Ein deutsches Requiem
    Symphony Hall, City of Birmingham Symphony Orchestra

    “Mark Stone the robustly articulated soloist”
    ★★★★ David Hart, Birmingham Post, 26 October 2015

    “Stone performed admirably, his lower register seemingly sharing some of the same resonance as the bowed basses and cellos in the opening bars of the first and second movements. His diction was excellent and he projected well, making full use of the acoustics in the hall.”
    ★★★★ Robert Gainer, Bachtrack, 23 October 2015

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    04 Jul 15 Simpson The Immortal (World Premiere)
    Bridgewater Hall

    “Baritone Mark Stone exhorts Myers’ anxieties on the passage from life to death in tones of blackest despair.”
    ★★★★ Alfred Hickling, The Guardian, 5 July 2015

    “Superb baritone soloist Mark Stone as the Myers figure leads us on a tormented journey but finally finds some desolate solace in the closing coda”
    David Blake, Manchester Confidential, 5 July 2015

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    06 Jun 15 Strauss Intermezzo
    Garsington Opera

    “Her husband is sung and portrayed superbly by Mark Stone, who bears some resemblance to a young Fischer-Dieskau and whose singing is similarly lyrical and sensitive to language. He conveys to perfection both Storch’s exasperation and his endurance, and he sings with full, ardent tone.”
    ★★★★ Melanie Eskenazi, Music OMH, 7 June 2015

    “‘Mark Stone proved a delightfully smooth and urbane Robert, whose self-satisfaction turns to real despair as his wife threatens divorce by telegram.’…’Stone showed himself to have a smooth and full baritone of real quality'”
    ★★★★ David Karlin, Bach Track, 7 June 2015

    “Mark Stone is excellent as a benign, suave Storch, similarly unstrained by the vocal requirements.”
    ★★★★ Hugo Shirley, The Financial Times, 9 June 2015

    “Mark Stone finds authority and a vein of complexity in the strangely under-defined role of RS. He almost makes the bothersome final scene, in which the wronged composer forgives his foolish wife and heals their marriage, palatable.”
    ★★★★ Mark Valencia, What’s on Stage, 9 June 2015

    “Mark Stone sings the role of the much put-upon composer himself, singing with resilience and handsome tone, and offering a matinee-idol view of the character – all charm and long-suffering patience.”
    George Hall, The Stage, 9 June 2015

    “Mark Stone was excellent as Strauss as Robert Storch. Clearly referencing Strauss’s aloofness, Stone, with his debonair looks and solid, beautifully coloured baritone, took Storch’s exasperation and tenderness in his stride, and his relief when he finds out how things had gone so wrong really hit home. He brought the whole dynamic of the piece into focus.”
    Peter Reed, Classical Source, 8 June 2015

    “Ravella is helped immeasurably by practically perfect performances from Mary Dunleavy and Mark Stone.”
    ★★★★ Tim Ashley, The Guardian, 10 June 2015

    “There’s no weak link in the cast which is led by two outstanding singers: baritone Mark Stone as the composer Storch, and soprano Mary Dunleavy as his wife Christine. Stone’s performance crackles with peppery authority.”
    Michael Church, The Independent, 11 June 2015

    “As for Mark Stone, his fine baritone effortlessly fills this difficult auditorium, and his portrayal of Robert – a thinly veiled version of Strauss himself – is a masterclass in urbanity. ”
    ★★★★★ David Mellor, The Mail on Sunday, 14 June 2015

    “Baritone Mark Stone impressive as complacent husband Robert.”
    Stephen Pritchard, The Guardian, 14 June 2015

    “Baritone Mark Stone offered matinee-idol good looks, vocal warmth and personal charm; this was a top-class realization of the part.”
    George Hall, Opera News, June Edition 2015

    “Mark Stone made a powerful impression as her husband, perhaps the closest of all Strauss came to a self-portrait. (The creator of the role wore a mask so as to make him resemble the composer all the more closely. As Norman del Mar observed, this was a ‘striking volte-face after Strauss’s anxieties over the Young Composer in Ariadne’.) One could have taken dictation, verbal as well as notational, from most of his crystal-clear performance: Lied writ large in the best sense.”
    Mark Berry, Opera Today, 12 June 2015

  • More info  
    12 Mar 15 Adés Totentanz
    New York Philharmonic / Avery Fisher Hall

    “Baritone Mark Stone brought fine sardonic force to the Sprechgesang of Death”
    Martin Bernheimer, Financial Times, 15 March 2015

    “Baritone Mark Stone plays Death himself, a stentorian sneering harbinger who spares nobody”
    Harry Rolnick, Concertonet, March 2015

    “Of course, Death always survives. Mr. Adès personifies him in a baritone (here, the malevolent Mark Stone, replacing Simon Keenlyside, who withdrew because of illness)”
    David Allen, The New York Times, 13 March 2015
    “Baritone Mark Stone as Death displayed strong, steady tone and ample reserves of power, plus a keen sense of both menace and enticement in his delivery of the text.”
    Oberon’s Grove, 13 March 2015

  • More info  
    24 Nov 14 Quilter The Complete Songbook
    Mark Stone & Stephen Barlow

    “Mark Stone and Stephen Barlow’s excellent complete edition”

    “Stone’s high, slightly grainy baritone and incisive diction deliver Quilter’s often long, soaring lines with compelling fervour”
    Michael Scott Rohan, BBC Music Magazine, November 2014

  • More info  
    11 Nov 14 Britten Curlew River
    U.S.A Tour

    “The Ferryman (the stentorian baritone Mark Stone)”
    Anthony Tommasini, New York Times, October 31 2014

    “The Ferryman introduces himself and the plot begins. Mark Stone, the English baritone, was magnificent. I have seen Stone perform many times in the UK, he’s one of my favorite Don Giovanni’s, but I’ve never heard him sound so powerful, so profound. Maybe it was the space, maybe it was a singer at the very height of his powers, doesn’t matter; it was a joy to hear his deep warm baritone penetrate every wooden nook and cranny of the Church, the overtones reverberating through the rafters, his powerful presence commanding his ferryboat.”
    Glen Roven, Huffington Post, 11 November 2014

    “Starring tenor Ian Bostridge as the Madwoman and baritone Mark Stone as the Ferryman, this is a beautifully thought, shaped and sung production that creates a complex, unnerving and lingering effect … Stone was an excellent contrast, sounding like he was growling even as he sang clearly, nasty to the Madwoman, and then, seeing the tragedy, heartbroken and sympathetic”
    George Grella, New York Classical Review, 31 October 2014

    “The other standouts in the production were the resounding baritone Mark Stone”
    Richard Sasanow, Broadway World, 6 November 2014

    “The singing was consistently excellent – not that one noticed all that much because voice, movement and stage imagery were so much of a piece, though Mark Stone was a particularly fine Ferryman.”
    David Patrick Stearns, Arts Journal, 31 October 2014

    “The gruff, assertive Ferryman (Mark Stone).”
    Heidi Waleson, Wall Street Journal, 3 November 2014

    “Mark Stone, baritone, is outstanding as the The Ferryman, very clear in his singing and commanding in his stage presence.”
    Kate Dobbs Ariall, The Five Points Star, 7 November 2014

    “Mark Stone was a powerful presence as The Ferryman with a voice that could have been heard on Franklin Street if the doors had been open.”
    Jeffrey Rossman, CVNC, 6 November 2014

    “Perhaps best of all was bass-baritone Mark Stone’s sarcastic and suspicious Ferryman”
    Lisa Hirsch, San Francisco Classical Voice, 15 November 2014

    “The rest of the cast was no less impressive, especially bass-baritone Mark Stone as the gruff but humane Ferryman”
    Joshua Kosman, San Francisco Chronicle, 17 November 2014

    “baritone Mark Stone, who was in strapping voice as the Ferryman”
    Richard Scheinin, San Jose Mercury News, 15 November 2014

Online audio material:

  • Mark Stone as Wozzeck, Grand Theatre de Geneve, March 2017 (Online streaming on


ADAMS: Nixon in China (Chou En-lai)

The Tempest (Sebastian)

ALFANO: Cyrano de Bergerac (Valvert)

ARGENTO: The Aspern Papers (The Lodger)

B Minor Mass
St. John Passion
St. Matthew Passion
Christmas Oratorio

CPE BACH: Magnificat

BELLINI: La straniera (Valdeburgo)

BERG: Wozzeck (Wozzeck)

Béatrice et Bénédict (Claudio)
Les Troyens (Chorèbe)

BERNSTEIN: Candide (Maximillian)

Carmen (Escamillo)
Djamileh (Splendiano)

BRAHMS: Ein deutsches Requiem

Albert Herring (Sid)
A Midsummer Night’s Dream (Demetrius)
Billy Budd (Billy Budd)
Death in Venice (Traveller)
Gloriana (Mountjoy)
Owen Wingrave (Owen Wingrave)
Peter Grimes (Ned Keane)
The Rape of Lucretia (Junius / Tarquinius)

DEBUSSY: Pelleas et Melisande (Pelleas)

DE FALLA: La Vida Breve (Manuel)

Don Pasquale (Malatesta)
L’Elisir d’amore (Belcore)
Lucia di Lammermoor (Enrico)
Roberto Devereux (Nottingham)

The Dream of Gerontius
The Kingdom

FAURE: Requiem

GLASS: Symphony No. 5

GLUCK: Alceste (High Priest)

GOUNOD: Faust (Valentin)

Acis and Galatea (Polyphemus)
La Resurezzione (Lucifero)
Serse (Elviro)
Tolomeo (Araspe)

HAYDN: Nelson mass

JANACEK: The Cunning Little Vixen (Harašta)

LEHAR: Die lustige Witwe (Danilo)

LEONCAVALLO: I Pagliacci (Silvio)

JAMES MACMILLAN: St. John Passion (Christus)

MASCAGNI: Cavalleria rusticana (Alfio)

Don Quichotte (Sancho Panza)
Manon (Lescaut)

MENDELSSOHN: Elijah (Elijah)

MESSAGER: Veronique (Florestan)

Cosi fan tutte (Guglielmo)
Die Zauberflöte (Papageno)
Don Giovanni (Don Giovanni)
Le nozze di Figaro (il Conte)

ORFF: Carmina Burana

PROKOFIEV: The Gambler (Mr Astley / Unlucky Gambler)

Gianni Schicchi (Gianni Schicchi)
La bohème (Marcello)
La fanciulla del West (Sonora)
Madama Butterfly (Sharpless)
Manon Lescaut (Lescaut)

RAVEL: L’Heure Espagnole (Ramiro)

Il barbiere di Siviglia (Figaro)
Il campanello (Enrico)
La Cenerentola (Dandini)
Le comte Ory (Raimbaud)
L’occasione fa il ladro (Parmenione)

Intermezzo (Storch)
Der Rosenkavalier (Faninal)

Eugene Onegin (Onegin)
Iolanta (Robert)
Pique Dame (Yeletsky)

TIPPETT: King Priam (Hector)

Don Carlo (Rodrigo)
Falstaff (Ford)
La forza del destino (Don Carlo)
La traviata (Germont)

WEBER: Der Freischütz (Ottakar)