Robert Murray

Credit: Gerard Collett


Robert Murray was a Jette Parker Young Artist and has sung for the Royal Opera House, English National Opera, Opera North, Garsington Opera, Welsh National Opera, Norwegian Opera, Hamburg State Opera and Salzburg Festival. Recent highlights include a tour of Messiah with the Academy of Ancient Music, Haydn’s Creation with the Simon Bolivar Orchestra conducted by Gustavo Dudamel and with the LSO under Edward Gardner, and Written on Skin at the Lincoln Center with Alan Gilbert conducting the Mahler Chamber Orchestra. During the 2016/17 season and beyond he returns to ENO for Rodelinda, Garsington Opera for Semele and the Edinburgh Festival for Peter Grimes; he appears in concert with the Gothenburg Symphony (Simone Young), Bergen Philharmonic (Edward Gardner), City of Birmingham Symphony Orchestra (Nicholas Collon) and Konzerthaus Orchestra Berlin (Paul McCreesh).


From The Green Room


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    Handel: Brockes-Passion

    Label: AAM Records

    Release Date: 04 Oct 19

    Academy of Ancient Music

    “Celebrating the 300th anniversary of Handel’s great Brockes-Passion: a long-neglected masterpiece by this most brilliant composer, from a libretto by his friend, Barthold Brockes, one of Germanys leading poets.”

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    HANDEL 'Saul'

    Label: Coro

    Release Date: 01 Sep 12

    Conductor: Harry Christophers

    Saul: Christopher Purves
    David: Sarah Connolly
    Jonathan: Robert Murray
    Merab: Elizabeth Atherton
    Michal: Joélle Harvey

    The Sixteen

    Catalogue No: COR16103

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    BERLIOZ 'Grande Messe des Morts'

    Label: Winged Lion

    Release Date: 01 Oct 11

    Conductor: Paul McCreesh
    Tenor: Robert Murray

    Ensemble Wrocław
    Chetham’s School Symphonic Brass Ensemble
    Gabrieli Consort & Players
    Wrocław Philharmonic Orchestra
    Wrocław Philharmonic Choir

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    POULENC The Complete Songs Vol. 2

    Label: Signum

    Release Date: 30 May 11

    Soprano: Felicity Lott
    Soprano: Lisa Milne
    Soprano: Lorna Anderson
    Tenor: Robert Murray
    Baritone: Christopher Maltman
    Bass-baritone: Jonathan Lemalu

    Piano: Malcolm Martineau

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    POULENC The Complete Songs Vol. 1

    Label: Signum

    Release Date: 28 Feb 11

    Soprano: Felicity Lott
    Soprano: Lisa Milne
    Soprano: Lorna Anderson
    Tenor: Robert Murray
    Baritone: Christopher Maltman
    Bass-baritone: Jonathan Lemalu

    Piano: Malcolm Martineau

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    05 Dec 19 Wigmore Britten Series Aurora Orchestra
    Wigmore Hall, London

    “In the Serenade, Murray was partnered by horn player Christopher Parkes; their performance was quick-witted and intelligently dramatised, but nudged to a perfect close in Murray’s gentle delivery of the final Keats sonnet and the solo horn epilogue.”
    Andrew Clements, The Guardian, 05 December 2019

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    03 Nov 19 Mendelssohn Elijah
    Orchestre Philharmonique de Monte-Carlo

    “Doté d’un rôle secondaire dans l’ouvrage, Robert Murray n’en est pas moins exemplaire en ténor élégant, homogène sur toute la tessiture, parfait adjoint du rôle-titre.”

    [Translated] “With a secondary role in the book, Robert Murray is no less exemplary in elegant tenor, homogeneous over the entire range, perfect assistant of the title role.”
    Tristan Labouret, Bachtrack, 05 November 2019

    ” Robert Murray brought much ardent sweetness to his contributions.”
    Christopher Morley, Slipped Disc, 08 November 2019

    “Tenor Robert Murray sang with admirable clarity of tone and diction – as did his three colleagues – and his singing gave great pleasure.”
    John Quinn, Seen and Heard, 08 November 2019


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    12 Oct 19 Verdi Requiem
    Royal Festival Hall

    “Murray seized his opening gambit in the ‘Kyrie eleison’ – one of Verdi’s most generous gifts to a tenor – as though his life depended on it, and later, in the lovely ‘Ingemisco’ and ‘Hostias et preces’ solos, spun the Requiem’s humanity with overwhelming lyricism.”
    Peter Reed, Classical Source, 12 October 2019

    “English tenor Robert Murray…did a heroic job at extremely short notice.”
    Stephen Pritchard, Bachtrack, 14 October 2019

    “[In] the ‘Offertorio’ sections…(above all the ‘Hostias’), the voice truly glowed.”
    Boyd Tonkin, The Arts Desk, 14 October 2019

    “To arrive at the last minute and summon the right tranced tone in the Hostias- one of those moments in the Requiem when everything hinges on a single note- was a tall order, but Murray managed it.”
    Ivan Hewett, The Daily Telegraph, 14 October 2019




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    20 Jun 19 Handel: Belshazzar Grange Festival

    Murray, in one of his finest performances to date, makes an exceptional Belshazzar, superbly sung, attractive yet cowardly, unthinking and vainglorious.
    Tim Ashley, The Guardian

    Robert Murray copes heroically with Belshazzar’s vocal athletics…
    Rupert Christiansen, The Telegraph

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    09 Feb 19 The Dream of Gerontius London Mozart Players, Crouch End Festival Chorus
    Queen Elizabeth Hall

    Robert Murray was an excellent choice for Gerontius, bringing the right degree of English lyricism and subtly applied vibrato to the role, yet providing enough power to cut through the instances of loud orchestral underlay, and his hushed ‘Novissima hora est’ rising out of the preceding choral diminuendo was magical indeed.
    Barry Creasy, MusicOMH

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    22 Sep 18 En Masse Circa
    Brisbane Festival 2018

    Circa, En Masse, Brisbane Festival 2018
    Murray’s soft singing is particularly ravishing.
    Trevor Jones, The Conversation

    Amongst the bodies a dishevelled vagrant – tenor Robert Murray –sings the Ständchen from Schubert’s Schwanengesang, his tone dark and plaintive, accompanied by an invisible piano.
    Angus McPherson, Limelight Magazine

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    04 Aug 18 Haydn: Creation Edinburgh Festival with the SCO
    Usher Hall, Edinburgh

    He was helped by characterful soloists (Sarah Tynan, Robert Murray, Neal Davies) who projected the slightly rewritten English texts with operatic pungency…
    Richard Morrison, The Times

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    08 Jun 18 Britten: Michelangelo Sonnets Aldeburgh Festival 2018
    Snape Maltings Concert Hall

    Lighter relief was provided by Britten’s erotic song-cycle Seven Sonnets of Michelangelo, eloquently sung by Robert Murray…
    Rupert Christiansen, The Telegraph

    Skilfully, Matthews makes sure the tenor soloist, here the expressive Robert Murray…
    Richard Fairman, FT

    The songs with their Italian texts also reveal other, unexpected influences, including, surprisingly, that of Puccini, whose spirit seems to haunt several of these unbridled love songs; Murray caught that Italianate quality superbly.
    Andrew Clements, The Guardian

    Robert Murray was rich-voiced, expressive and sensitive to the songs’ needs – moving from an almost Sprechstimme-style rhythmic delivery in the first to a more operatic manner in the third…
    Barnaby Page, Classical Source

    Robert Murray was the chosen soloist and his strong and eloquent tenor voice radiated round the vastness of the Snape Maltings Concert Hall with consummate ease that more than endeared the audience to the singer’s musical prowess and, indeed, to the rather lovely setting of the sonnets themselves which speak so tenderly of love.
    Robert Hugill, Planet Hugill

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    17 Nov 17 The Rake's Progress
    Wilton's Music Hall

    As for the cast, it’s one you’d expect to find in a far more glamorous theatre. It’s led by Robert Murray, who brings an easy, confiding manner and an airy-sounding tenor to Tom.
    Erica Jeal, The Guardian

    Robert Murray makes a moving Tom Rakewell, an affable innocent, his voice always sweet.
    Rebecca Franks, The Times

    His honeyed English timbre sweetened the Wilton’s air every time he sang.
    Mark Valencia, What’s On Stage

    Pristine tenor Robert Murray has such beauty of voice as Tom, it is quite hard to believe the character’s other gifts and judgement are so lacking.
    Claudia Pritchard, Culture Whisper


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    02 Dec 16 ELGAR 'The Dream of Gerontius' Seattle Symphony Orchestra
    Benaroya Hall, Seattle

    “The greatest challenges fell to tenor Robert Murray, who sang Gerontius with beautiful timbre, expressive depth, and immaculate diction.”
    Melinda Bargreen, The Seattle Times

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    19 Jun 16 MOZART 'Idomeneo'
    Garsington Opera

    “Robert Murray’s relatively small role as the High Priest did not disappoint: a typically intelligent, intriguingly ambiguous performance.”
    Opera Today, Mark Berry

    “Robert Murray’s High Priest has a wonderful sense of urgency and fateful accusation.”
    Bachtrack, Charlotte Valori

    “It’s a testament to the quality of this house that it is able to cast the roles of Arbace and the ‘High Priest’ (Robert Murray) with tenors who could equally well sing the title role.”
    MusicOMH, Melanie Eskenazi

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    22 May 16 ELGAR 'The Dream of Gerontius' City of Birmingham Symphony Orchestra
    Brighton Festival

    “in particular, the tenor Robert Murray whose crystal clear tones could soar above the orchestra when required and never lost any of that clarity when reduced to the faintest of whispers. His was a performance of such delicate balance that as well as being finely sung it was both dramatic and moving.”
    Andrew Kay, thelatest.co.uk

    “Conductor Edward Gardner, of operatic background, seemed connected to every musician and every chorister on stage. He led tenor Robert Murray as Gerontius, an old man on point of death, to putting every ounce of feeling into an emotionally charged performance of stunning intensity.”
    Louise Schweitzer/The Argus

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    01 May 16 SCHUBERT 'Die schöne Müllerin' Andrew West, piano
    Stone Records

    “He offers a clear-sighted and straightforwardly touching account. His is a light, cleanly produced voice with a narrow bore, which also takes on hints of a heroic steel … Murray’s intelligence shines through across the complete cycle, with a clever interpretative touches in the strophic songs.”
    Gramophone Magazine, September 2016

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    10 Jul 15 DELIBES 'Lakmé'
    Opera Holland Park

    “Fflur Wyn [was] complemented by the warm honeyed tenor of Robert Murray as the smitten army officer. Their duets were as pleasurable as their arias, and both demonstrated an elegant sense of Gallic style.”
    Rupert Christiansen, The Telegraph, 10 July 2015

    “Robert Murray draws muscular passion from the feckless Gérald.”
    Alexandra Coghlan, The Independent, 10 July 2015

    “[Fflur Wyn] is well matched with Robert Murray as her British army lover, Gérald … one of the loveliest tenor sounds around.”
    David Nice, The Arts Desk, 10 July

    “Robert Murray makes a worthy Gérald…his tenor always full of pleasing tone.”
    Martin Kettle, The Guardian, 10 July 2015

    “Robert Murray finds gallantry and even a degree of nobility to offset the perplexity of Gérald.”
    Richard Whitehouse, Classical Source, 09 July 2015

    “Robert Murray’s Gérald was impeccably sung, his fine golden tone well suited to this repertoire. His aria “Prendre le dessin d’un bijou” was delectable.”
    Mark Pullinger, Bachtrack, 10 July 2015

    “Robert Murray, fresh from courting Mabel in ENO’s Pirates of Penzance, tries his luck again, this time as Lakmé’s suitor, Gérald. The tenor is in excellent voice these days and his account of “Ah! viens dans la forêt profonde” was unwavering and passionate.”
    Mark Valencia, What’s on Stage, 13 July 2015

    “Robert Murray sings [Lakmé’s] suitor Gérald with a firm but poetic tenor that has class.”
    Richard Fairman, Financial Times, 12 July 2015

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    09 May 15 SULLIVAN 'The Pirates of Penzance'
    English National Opera

    “That elegant and versatile tenor Robert Murray does everything required of him as Frederic.”
    Rupert Christiansen, The Telegraph, 10th May 2015

    “Robert Murray as Frederic stood out in his often heartfelt arias”
    Seen and Heard, Jim Pritchard, 22 May 2015

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    07 Jun 14 OFFENBACH 'Vert-Vert'
    Garsington Opera

    “Robert Murray’s mellifluous Valentin”
    Michael Church, The Independent, 9th June 2014

    “The cast is pretty much faultless. Robert Murray has the ideal sweetness of voice for the plonker of a hero, and the security of his soft singing above the stave is exemplary”
    Rupert Christiansen, The Telegraph, 10th June 2014

    “The principal singers are very strong too. Robert Murray plays Valentin as a naive buffoon, but sings with rapt sweetness in his duet with Mimi.”
    Edward Bhesania, The Stage, 16th June 2014