Rising young tenor Anthony Gregory is a recipient of many awards and prizes including the Ian Fleming Award and the Lies Askonas Prize. Acclaimed for his unique timbre, stage presence and musicality, he is already making a name for himself in the Mozart repertoire: “…Anthony Gregory, as Ferrando, sings with confidence and ardour of youth. A Mozart tenor to watch.” (Hugh Canning, Sunday Times, March 2013) He was also featured by esteemed critic Rupert Christiansen as one of the future operatic stars.
Currently a Harewood Artist at English National Opera, he was a Jerwood Young Artist for 2010 at Glyndebourne and a trainee of the prestigious National Opera Studio in 2011/12.
In 2012 Gregory made a series of notable debuts: with English National Opera as Young Sailor Julietta and with Aix en Provence as Edward Milfort Il cambiale matrimonio. More acclaim followed when he starred as Ferrando Cosi fan tutte for English Touring Opera; Tamino Die Zauberfloete at Nevill Holt Opera and as Almaviva Il Barbiere di Siviglia with the Verbier Festival Academy, where he also appeared in concert performances of Beethoven’s Choral Fantasy under Charles Dutoit and as Roderigo Otello alongside Anna Netrebko and Aleksandr Antonenko under the baton of Valery Gergiev. Further debuts include Lucio Silla for the Classical Opera Company; The Fairy Queen for English Touring Opera; Grimoaldo Rodelinda at the London Handel Festival conducted by Laurence Cummings; Novice Billy Budd and Peter Quint The Turn of the Screw (covers) as well as The Hussar Mavra all for Glyndebourne.
Concert highlights include Handel’s Messiah at Cadogan Hall, Wells Cathedral and in his debut with Royal Scottish National Orchestra; Schubert’s Rosamunde with the BBC Philharmonic Orchestra; Haydn St Nicholas Mass and Britten St Nicholas for the St Luke’s Music Society; Monteverdi Vespers with the Armonico Consort; and his debut with the Classical Opera Company in Arne’s Alfred the Great at King’s Place.
Engagements last season included three new productions for English National Opera: The Magic Flute (1st Armed Man and cover Tamino), Rigoletto (Borsa) and Thebans (Haemon) and his role debut as Agenore Il Re Pastore at the Verbier Festival alongside Rolando Villazón. Concert highlights included Bach’s Mass in B Minor with Ludus Baroque at the Edinburgh International Festival, Mozart Requiem with Royal Philharmonic Orchestra, St John Passion with the Oxford Bach Choir and his debut with a concert of arias at the prestigious Lufthansa Baroque Festival.
The 2014/15 Anthony Gregory will make a series of notable role and house debuts: Peter Quint and Prologue The Turn of the Screw for Glyndebourne on Tour, Shepherd L’Orfeo for Royal Opera House, Ferrando Così fan tutte for Opéra de Limoges and Oronte in a new Katie Mitchell production of Alcina for Aix en Provence Festival. Future engagements include leading roles with ENO, Glyndebourne Festival and Glyndebourne on Tour.
Anthony Gregory is represented by Intermusica.
November 2014 / 468 words. Not to be altered without permission. Please destroy all previous biographical material.
First Shepherd Orfeo / Royal Opera House / Roundhouse
Cond. Christopher Moulds / dir. Michael Boyd
“We get superb singing from tenor Anthony Gregory”
Michael Church, Independent, January 2015
“Tenors Anthony Gregory and Alexander Sprague blend beautifully with Christopher Lowrey’s warm, appealing countertenor, and all three Pastors communicate the drama powerfully.”
Claire Seymour, Opera Today, January 2015
“The shepherds, here sung with alluring lyricism by promising young tenors Anthony Gregory and Alexander Sprague”
George Smart, Harper's Bazzar, January 2015
“Anthony Gregory and Alexander Sprague (the Shepherds) are also outstanding in an altogether first-class cast.”
Rupert Christiansen, Daily Telegraph, January 2015
“It's especially fascinating to hear Anthony Gregory and Alexander Sprague, two tenors on the verge of stardom, sing in duet. Their voices, each a beautiful instrument but utterly distinctive, combine to magical effect.”
Mark Valencia, What’s On Stage, January 2015
“Musically the strongest support comes from the trio of pastors (Anthony Gregory, Alexander Sprague and Christopher Lowrey), who make the most of some of Monteverdi’s finest vocal writing.”
Alexandra Coghlan, Spectator, January 2015
“Anthony Gregory, Alexander Sprague and Christopher Lowrey made fine pastors, each highly involved in the action and showing keen regard for Monteverdi's line and text.”
Robert Hugill, Planet Hugill, January 2015
“The four ROH debutants made very strong impacts – Anthony Gregory and Alexander Sprague shone as First and Second pastor.”
Melanie Eskenazi, Music OMH, January 2015
Prologue and Peter Quint The Turn of the Screw / Glyndeboure
“As the Narrator, Anthony Gregory’s bright, focused tenor was a perfect fit. Gregory was…a strikingly ominous figure of malevolence.”
Claire Seymour, Seen and Heard International, November 2014
"Anthony Gregory's Quint, younger and handsomer than most, sounds disquietingly beautiful, which makes him very creepy indeed."
Tim Ashley, Guardian
, October 2014
"The contrast between Gregory's bright, deft Quint and Miranda Keys's slow, magnificently voiced Miss Jessel is fascinating."
Anna Picard, Times, October 2014
"Anthony Gregory's Quint is exquisitely sung, his villain all the more disturbing for his vocal beauty."
Alexandra Coghlan, Spectator, October 2014
"His voice, his stage presence, he is the very depiction of a spooky apparition back from the dead."
Sussex Express, October 2014
"Anthony Gregory gives us a fiery, dandyish Peter Quint, full of lithe energy... his gestures as sharp and clear-cut as his suit... he is utterly convincing and increasingly malignant as the opera whirls towards its terrible close."
Charlotte Valori, Bachtrack, October 2014
Tamino The Magic Flute / Lyric Theatre, Belfast
"Gregory's plangent lyricism was a constant throughout the evening."
Terry Blain, Opera Magazine, October 2014
Nemorino L’elisir d’amore / Internationale Meistersinger Akademie
“Self-confident Anthony Gregory was a tastefully creative Nemorino”
“Anthony Gregory war ein geschmackvoll gestaltender Nemorino”
Uwe Mitsching, NordBayern, July 2014
Call Me George / Harewood Gala / English National Opera
Cond. Paul Daniel, Mark Elder & Edward Gardner
“with a gentle, tender rendition from Gloriana featuring tenor Anthony Gregory”
Colin Anderson, Classical Source, July 2014
Haemon Thebans / English National Opera
Cond. Edward Gardner / dir. Pierre Audi
“…the tenor Anthony Gregory seized his chance in three small roles to make his mark”
John Allison, Opera, July 2014
“There was a particularly strong Haemon (Creon’s son, in love with Antigone) from tenor Anthony Gregory”
Peter Reed, Classical Source, May 2014
"The cast give it their all...Matthew Best’s creepy Tiresias and Anthony Gregory as Antigone’s lover Haemon"
Neil Fisher, Times, May 2014
“Anthony Gregory’s radiantly-sung Haemon (a career-launching performance, surely)”
Alexandra Coghlan, The Arts Desk, May 2014
“…. Anthony Gregory's Haemon and Jonathan McGovern's Polynices are also worthy of special mention.”
Simon Thomas, What’s On Stage, May 2014
“Anthony Gregory’s beautiful tenor makes a special mark in the Stranger from Corinth’s monologue…”
Rupert Christianson, Daily Telegraph, May 2014
“Anthony Gregory, as the stranger from Corinth, a promising rising young tenor, performed close to perfection.”
Lorenzo Belenguer, Huffington Post, May 2014
Borsa Rigoletto / English National Opera
Cond. Graeme Jenkins / dir. Christopher Alden
“George Humphreys and Anthony Gregory were also impressive as Marullo and Borsa, a particularly nasty pair of courtiers here.”
Hugo Shirley, Opera, April 2014
Ferrando Così fan tutte / Hackney Empire
English Touring Opera / cond. James Burton / dir. Paul Higgins
“Anthony Gregory delineates Ferrando's insecurity as he skilfully charts his lyrical lines.”
George Hall, The Guardian, March 2013
“…Anthony Gregory, as Ferrando, sings two out of his three [arias] with confidence and ardour of youth. A Mozart tenor to watch.”
Hugh Canning, The Sunday Times
, March 2013
“Anthony Gregory is a resilient tenor with real ballast. He has already proved himself a Mozartian with élan in the title role of Classical Opera’s Lucio Silla, and here his Ferrando… is both musically intelligent and moving.”
Hilary Finch, The Times
, March 2013
Title role Lucio Silla
Classical Opera Company / Cadogan Hall / cond. Ian Page
“In the title role, Anthony Gregory may only have had two arias, but he made them count with his finely controlled, eloquently Italianate tenor, and he was really thrilling in the accompanied recitatives where he vacillates between the calls of love, tyranny and his desire to be a good guy.”
Peter Reed, classicalsource.com, March 2012
“[Gregory] delivered his two arias convincingly, with an attractive clear line and assured high notes.”
Margarida Mota-Bull, Seen & Heard International, March 2012
Patient The Fairy Queen
English Touring Opera / cond. Joseph McHardy / dir. Thomas Guthrie
“Anthony Gregory, one for the four patients, seemed destined for a notable career.”
Hugh Canning, Opera, November 2011
“Anthony Gregory revealed a bright lyric tenor and impeccable stylistic instincts in his brief solos.”
Hugh Canning, Sunday Times, November 2011
“I was sorry that tenor Anthony Gregory’s solo vocal contributions were so few and brief, for he clearly possesses a very fine instrument indeed and is worth looking out for in future productions.”
Dominic Wells, Opera Britannia, November 2011
“It would be invidious to single out anyone from a truly first-rate ensemble, but I was hugely impressed by tenor Anthony Gregory, who makes the most out of a comparatively small part: his light yet steely tenor is hugely exciting to hear – success as an haut-contre surely beckons – and his duet ‘Let the fifes and the clarions’ with countertenor Michal Czerniawski was the vocal highlight of the show.”
Adrian Horsewood, What’s On Stage, November 2011
Ferrando Così fan tutte
Benjamin Britten International Opera School, Royal College of Music / cond. Michael Rosewell / dir. Lee Blakeley
“Anthony Gregory [was] a promising, sweet-toned Ferrando”
Robert Thicknesse, Opera Now, December 2011