“Crowning it all is Stout’s fine-spun singing; really, this is a voice I would travel many miles to hear. I’ve added him to my list of singers to watch.”
MusicWeb International, January 2012
David Stout is quickly establishing himself as a highly sought-after baritone, regularly appearing at the Bregenz Festival, and English and Welsh National Operas. Stout studied with Rudolf Piernay on the opera course at the Guildhall in London, where he was recipient of the Principal’s Prize.
His opera roles include Dr. Falke Die Fledermaus, Ping Turandot, Papageno Die Zauberflöte, Konrad Nachtigall Die Meistersinger von Nürnberg, Le Dancaïre Carmen and Schaunard La Bohème (all at Welsh National Opera); Schaunard La Bohème and Zaretski Eugene Onegin (English National Opera); Angelotti Tosca, Nikita Das Portrait and Mick Playing Away (Bregenz Festival); Flemish Deputy Don Carlos (Royal Opera House, Covent Garden); Don Juan From the House of the Dead (Teatro Massimo di Palermo); Papageno Die Zauberflöte and Harašta The Cunning Little Vixen (Grange Park Opera); Marullo Rigoletto (Opera Holland Park); Alfio Cavalleria Rusticana (Endellion Festival); Aeneas Dido and Aeneas and Pluto Orfeo (English Touring Opera); and Pietro Simon Boccanegra and Hercule Alceste (Chelsea Opera Group).
Stout has an extensive concert and song repertoire. Recent recordings include the NMC Songbook with Iain Burnside, Haydn’s Creation with New College, Oxford, and Mahler (arr. Schönberg) Lieder eines fahrenden Gesellen with the Orchestra of the Swan, all of which received critical acclaim. He has performed Beethoven’s Symphony No.9 with Sir Colin Davis, Handel’s Messiah and Brahms’ Requiem with the Hallé Orchestra, Vaughan Williams’ A Sea Symphony with the Royal Philharmonic Orchestra, Bach’s St. John Passion with Polyphony at St John’s Smith Square, Walton’s Belshazzar’s Feast at the Royal Festival Hall, Szymanowski’s Stabat Mater with the Derby Bach Choir, Bach Ich habe genug at King’s Place and Christus St. Matthew Passion for the St. Endellion Festival. Song recitals include Mendelssohn Lieder with Iain Burnside for BBC Radio 3, Wolf Eichendorff Lieder at the Oxford Lieder Festival, and Copland’s Ten Old American Songs and Il Maestro di cappella with the Haffner Orchestra. Further oratorio repertoire includes Bach’s B Minor Mass; Haydn’s Nelson Mass, Polyphemus’ Acis and Galatea, Mozart’s Requiem, Beethoven’s Missa Solemnis, Verdi’s Requiem, Tippett’s A Child of Our Time, Rossini’s Stabat Mater, Orff’s Carmina Burana, Mendelssohn’s Elijah, Elgar’s The Dream of Gerontius and Britten’s War Requiem.
Past highlights included Baron Douphol La traviata (Royal Opera House, Covent Garden) and Roucher Andrea Chénier (Bregenz Festspiele), Robin Oakapple Ruddigore (Opera North) as well as A Sea Symphony for the Nottingham Choral Trust, Fauré’s Requiem and The Messiah with the Manchester Camerata, Verdi’s Requiem in Hereford Cathedral, Haydn’s Creation in Brixen (DVD/Musica Saeculorum) and in Canterbury Cathedral, and Drunken Poet Fairy Queen for the Brighton Early Music Festival. Recitals include the Biss Trio at St. Briavel’s, Champs Hill and for the London Song Festival.
Engagements last season included his debut at the Wexford Festival as The Dark Fiddler in Delius’s A Village Romeo and Juliet, Pish Tush Mikado for ENO, Harašta Cunning Little Vixen and Buddha Wagner Dream (both for Welsh National Opera) and Gratiano in the premiere of The Merchant of Venice for the Bregenz Festspiele. Concert highlights included Fritz Kothner Die Meistersinger von Nürnberg with the Hallé Orchestra, Bach St John Passion with the Aurora Orchestra and Bach Cantatas with the Orchestra of the Age of Enlightenment, and a recording of Wolf Eichendorff Lieder.
Stout’s engagements in 2013/14 include Axel Oxenstierna Cristina, regina di Svezia for Wexford Festival, scenes from Falstaff (title role) with the Hallé under Sir Mark Elder, his debut with the Bournemouth Symphony Orchestra, Carmina Burana with the Orchestra Haydn di Bolzano e Trento in Italy, Sancho Panza Don Quichotte for Grange Park Opera, Oromazes in Rameau’s Zais with the Orchestra of the Age of Enlightenment, and Monterone Rigoletto for English National Opera. Further ahead, engagements include major roles for ENO and WNO and recordings for Opera Rara.David Stout is represented by Intermusica.
January 2014 / 620 words. Not to be altered without permission. Please destroy all previous biographical material.
Monterone Rigoletto / English National Opera
Cond. Graeme Jenkins, Dir. Christopher Alden
“There was a powerful contribution from David Stout as Monterone.”
Hugo Shirley, Opera, April 2014
Oxenstjerna Cristina, regina di Svezia / Wexford
Cond. Andrew Greenwood, Dir. Stephen Medcalf
“David Stout shone as Oxenstjerna.”
Rodney Milnes, Opera, January 2014
“... vigorously sung by David Stout...”
Andrew Clark, Financial Times, October 2013
South Tyrol Festival
“Excellent choice of solo cast, with supple voice of baritone David Stout, able to interpret the refined troubadour, the vulgar host, or a hieratic cleric, …”
Annely Zeni, Alto Adige, September 2013
Buddha Wagner Dream / WNO
Dir. Pierre Audi
“David Stout’s Buddha expressed in the voice the deep compassion lying at the heart of his interaction with Pakati and Anand.”
Opera, August 2013
“David Stout’s Buddha expressed in the voice the deep compassion lying at the heart of his interaction with Pakati and Anand.”
Rian Evans, Opera, August 2013
“The singing is beautiful, especially Claire Booth's Pakati and David Stout's sensational Buddha.”
Morning Star Online, June 2013
“David Stout (as Buddha himself) previously impressed me... Here he conveyed the Buddha’s rock-like inner strength but with great warmth and dignity.”
Opera Britannia, June 2013
Pilate in Bach St John Passion / King’s Place
Aurora Orchestra / cond. Nicholas Collon
“David Stout sang the glorious bass arias with tender eloquence; ‘Mein teurer Heiland’ was a high point of the evening.”
Melanie Eskenazi, Music OMH, March 2013
Forester in Janacek The Cunning Little Vixen / Wales Millennium Centre
cond. Lothar Koenigs / dir. David Pountney
“…but every word of his thwarted Forester hits home. The same is true of Alan Oke’s melancholic Schoolmaster, David Stout’s more virile Poacher and Richard Angas’s Parson.”
Geoff Brown, The Times, four stars, February 2013
Fritz Kothner in Die Meistersinger von Nürnberg / Bridgewater Hall
Hallé Orchestra / cond. Sir Mark Elder
“David Stout [was] ideal as Kothner”.
Tim Ashley, The Guardian, February 2013
Pish-Tush in Gilbert and Sullivan The Mikado / London Coliseum
English National Opera / cond. David Parry / dir. Jonathan Miller / revival dir. Elaine Tyler-Hall
“The third role in this triumvirate of wacky characters was undertaken by the young baritone, David Stout, who sported golfing plus fours and a broad Yorkshire accent as Pish-Tush. I was particularly impressed by his musicality and sensitivity in the ensemble pieces, whether he was singing with the bright young things or with his more distinguished colleagues”.
Miranda Jackson, Opera Britannia, December 2012
“...there are some individual performances to cherish ... David Stout adds stalwart support as Pish-Tush”.
Keith McDonnell, What’s on stage, December 2012
Dark Fiddler in Delius A Village Romeo and Juliet / Wexford Festival
Wexford Opera / cond. Rory Macdonald / dir. Stephen Medcalf
“David Stout deserves special credit for his powerful portrayal as the sinister Dark Fiddler, a symbol of the lover’s ultimate deadly fate”.
Andreas Bücker, Seen & Heard International, December 2012
“At the intriguing centre of Delius’s pastoral tragedy is the Dark Fiddler (David Stout). Whether a devil or a Puck we are never sure, but this enigmatic figure returns again and again at moments of crisis, guiding and cajoling the lovers towards their final fate. Stout’s warm baritone is a natural fit for this music, making something human out of Delius’s melodic abstractions, and adroitly sustaining the ambivalence we feel towards this sinister guardian angel”.
Alexandra Coghlan, New Statesman
, November 2012
“Delius’s A Village Romeo and Juliet was one of the main attractions of the Wexford Festival Opera, which this year again lived up to its reputation as a place of worship for all devotees of obscure works. Although generally regarded as Delius’s operatic masterpiece, it is nevertheless an elusive piece and the Irish production has been one of only two revivals worldwide in Delius’s 150th anniversary year. David Stout, as the mysterious Dark Fiddler, [...] helped to make a strong case for this work’s rehabilitation”.
John Allison, The Telegraph
, November 2012
”David Stout was excellent as the Dark Fiddler, a kind of bohemian character representing freedom, who suggests that Sali and Vreli join him in his nomadic life. Stout played the role with characterful presence, and sang with a rich and full-bodied voice”.
« David Stout, excellent dans le personnage du Dark Fiddler, sorte de bohémien qui représente la liberté et propose à Sali et Vreli de le suivre dans sa vie de bohème, a campé son personnage avec une présence dominante et une riche et ample voix de baryton ».
Erna Metdepennighen, Forum Opera, November 2012
“David Stout gave the Dark Fiddler a sinister tone with his powerful baritone voice and slightly devious characterisation”.
„David Stout gibt dem Dark Fiddler mit seinem kräftigen Bariton und leicht undurchsichtigen Spiel eine unheimliche Note“.
Thomas Molke, Online Musik Magazin, November 2012
“David Stout [was] imposing in stage presence and voice as the Dark Fiddler”.
Jessica Duchen, The Independent, November 2012
“The psychological drama is realised here by […] a first-class cast of singers. Wexford’s Dark Fiddler is David Stout, who was to have sung the role at Covent Garden, and his finely judged menace is so understated that there is a disconcertingly sinister feeling as he repeatedly pops up to inflict ‘coitus preventus’ at awful moments. His apparent fiddling is so finely honed that there were plenty in the audience wondering whether it was actually he himself playing so hauntingly on his violin. Not bad for someone who picked up the instrument for the first time only a month ago”.
Antony Craig, Gramophone, October 2012
“Strong vocal performances throughout, with [...] David Stout a potent symbolic figure as the Dark Fiddler”.
George Hall, The Stage
, October 2012
“David Stout makes the most of the opera's best role, the mysterious Dark Fiddler who lures them from the everyday world”.
Martin Kettle, The Guardian, October 2012
Verdi Requiem / Hereford Cathedral / Philharmonia Orchestra
cond. Geraint Bowen
“...baritone David Stout – sang well in true Verdi style”
Hereford Times, March 2012
Baron Douphol in Verdi La Traviata
Royal Opera House / cond. Maurizio Benini / dir. Richard Eyre
“It was nice to see David Stout as the Baron and he turned in a stylish performance.”
Opera Today, January 2012
“David Stout made a much more pleasant Douphol than the standard aristocratic thug. He also played it younger than usual - Violetta should probably have stayed with him. At least she might have got decent medical care”
Opera Britannia, January 2012
“David Stout bristled as proud Baron Douphol.”
Classical Source, January 2012
Walton Belshazzar’s Feast
Philharmonia Orchestra / cond. Andrew Nethsingha
“A starred first, too, for David Stout, a former member of the St John’s choir, who declaimed the sardonic baritone solos with superb diction and energy...”
Richard Morrison, The Times, December 2011
“...this was a superb performance drilled to near perfection...”
Neil Fisher, The Guardian, December 2011
“Baritone soloist David Stout gave a dramatic, animated performance...”
MusicOMH, December 2011
Zaretski in Tchaikovsky Eugene Onegin
English National Opera / cond. Edward Gardner / dir. Deborah Warner
“And whilst I'm on the low voices I might also mention the beautiful quality of David Stout's Zaretski, a perfect assumption of an operatic bit-part: it just made one want to hear more.”
Opera Britannia, November 2011
“...the most complete performance overall came from David Stout as Zaretski. A solid and expressive baritone, with big low notes and an easy extension, he clearly put across not just the text, but what remains unspoken in the tangle of passion and etiquette that is the duel scene.” Mahler Lieder eines fahrenden Gesellen (arr. Schönberg) / Orchestra of the Swan
Intermezzo, November 2011
cond. Kenneth Woods / SOMMCD 0109
“... The soloists on the SOMM recording are all unfamiliar, but seconds into the first of the Wayfarer songs –Wenn mein Schatz hochzeit macht– I was more than contented with David Stout’s steady, characterful baritone. Diction is good, and the balance between orchestra and soloist seems just right.... The pizzicato in that Mahlerian-tune Ging heut’ morgen übers Feld are a joy to hear, although it’s Stout’s subtle, feeling response to this song that really catches the ear and gladdens the heart....Crowning it all is Stout’s fine-spun singing; really, this is a voice I would travel many miles to hear. I’ve added him to my list of singers to watch.”Musicweb-International
, January 2012
“In Schoenberg’s less ambitious Lieder eines fahrenden Gesellen baritone David Stout’s richly balanced performance easily stands out as the best thing on the disc.”
Gramophone Magazine, October 2011
“David Stout is an admirable interpreter of the youthful songs, beautifully sung and well characterized.”
International Record Review, July 2011
“David Stout’s characterisation of the vocal line is alternately stoic and sensitive; his breath control copes well with the slow tempo... This is a really distinguished Wayfarer cycle; the performance is beautifully played and sung, and has an unerring focus on and sensitivity to the text. The comparison is with the performance from 1988 with Thomas Allen and the English Chamber Orchestra conducted by Jeffrey Tate... Thomas Allen is not as fresh-voiced as David Stout; together with the more distant recording, this diminishes the youthful feel of the work.”
Musicweb-International, July 2011
“In the Wayfarer songs, the baritone David Stout is right inside their emotional range – their sense of loss, resignation and lost innocence – and while you’re aware of his voice’s potential in terms of size, he keeps it to the scale of the ensemble. He also produces a very seductive sound – warm, velvety, full of nuance and colour – and the descents into impenetrable blackness capture the poor traveller’s experience of romantic despair with extraordinary conviction... with Stout deftly controlling the changes of mood and handling Mahler’s irregular phrasing with great subtlety... his high-voice singing is magical, and the close of the last setting is wonderfully distracted. I was hugely impressed by him, by his restraint and musicality as much by the quality, or rather qualities, and total security of his voice.”
Classical Source, June 2011
Ping in Puccini Turandot
Welsh National Opera / cond. Lothar Koenigs / dir. Christopher Alden
“As their leader Ping, David Stout once again shows his command of the stage. At the beginning of Act 2 in their big scene, Stout is particularly lyrical as he dolefully remembers China of old and his home.”
Opera Britannia, May 2011
“Among the Masks, David Stout stood out as Ping and received the loudest ovation from the audience.”
Seen and Heard, May 2011
Dr Falke in J. Strauss Die Fledermaus
Welsh National Opera / cond. Thomas Rösner / dir. John Copley
“David Stout launches the gloriously schmaltzy “Brüderlein” ensemble with smooth aplomb.”
Rupert Christiansen, The Telegraph, February 2011
David Stout portrayed a dapper, smug Falke with an organised mind in his revenge and with authority of tone. It is a truly stylish voice with a wealth of resonance; his dialogue flows with resonance and nobility. Even so, Stout is able to muster a compelling comic turn and his über-camp, overtly snug, bat costume revelation is a wonderful way to end the show memorably!”
Opera Britannia, February 2011
Papageno in Mozart Die Zauberflöte
Welsh National Opera / cond. Gareth Jones / dir. Dominic Cooke
“There was no mistaking the star of this rollocking romp through Mozart’s final opera - David Stout in his first night in the role in this particular run. He appears as a sort of cross between Harpo Marx and Peter Ustinov and along with a fine baritone full of power and depth he displays immaculate comic timing. His delivery, body language and expressions were faultless, milking every possible laugh from the role of the chattering bird catcher Papageno and if ever he is at a loose end a career in panto or comedy is his for the taking.”
Birmingham Post, November 2010
“David Stout lifts the production and lightens an otherwise serious story”
What’s On Stage, November 2010
Harasta in Janacek Cunning Little Vixen
Grange Park / cond. André de Ridder / dir. David Alden
“...David Stout's poacher Harasta is jovially arrogant”
George Hall, The Guardian, June 2009
“As Harasta, David Stout had his chance to fill the stage and seized it, singing out with the brash confidence that a Central European poacher has to have.”
Musical Criticism, July 2009
There’s strong support from David Stout’s confidently brutal Harasta”
What’s On Stage, July 2009
The NMC Songbook / Iain Burnside / NMC D150
“...baritone David Stout respond[s] with playing and singing of pin-sharp responsiveness, and great expressive depth.”
Musical Criticism, March 2009
Marcello in Puccini La Bohème
Mid Wales Opera at Aldeburgh / cond. Keith Darlington / dir. Martin Lloyd-Evans
“..It’s David Stout's hairy, rumbustious and warm-hearted Marcello who dominates the show.”
Rupert Christiansen, The Telegraph, September 2007
Papageno in Mozart Die Zauberflöte
Grange Park Opera
“...David Stout’s outstandingly sung Papageno, the comic linchpin of any Flute...”
Neil Fisher, The Times, June 2007
“Stout sings Papageno with a real feel for line and style, combining this with an appealing stage presence, both knowing and naïve. He did not have to resort to mugging or over-acting to achieve his point and his performance was comic without being over-stated. Just what was wanted. Papageno's magic bells were in fact a celeste which he rather impressively played himself -- surely a first...”
Music & Vision, June 2007
Aeneas in Purcell Dido & Aeneas and Jepthe in Carissimi Jepthe
English Touring Opera / cond. Matthew Halls / dir. Bernadette Iglich
“David Stout's firm and focused baritone is outstanding.”
Rupert Christiansen, The Telegraph
“Baritone David Stout made a strong and stricken Jephte... As Aeneas, David Stout was solemn yet wholly dignified”
Musicweb-International, October 2006
“David Stout provides a strong portrayal of the proud warrior whose thoughtless vow leads to disaster... Outstanding among a strong cast are David Stout’s firm and grave Aeneas.”
The Stage, October 2006