Renowned for his intelligent musicianship and incisive dramatic portrayals of a broad operatic, concert, and recital repertoire, British tenor Robert Murray has firmly established himself as one of the most exciting musicians of his generation. This season, Murray performed as Mark The Midsummer Marriage in concert with the London Philharmonic Orchestra under Edward Gardner. He makes his role and house debut as Florestan Fidelio with the Irish National Opera and performs Schoolmaster/Mosquito/Pasek The Cunning Little Vixen with the City of Birmingham Symphony Orchestra, Haydn Creation with the Handel & Haydn Society, gives recitals at the Wigmore Hall, Lammermuir Festival and Oxford Lieder, and returns to Garsington Opera in the summer of 2022. Further ahead, Murray will make his house and role debuts as Antonio The Tempest at Teatro alla Scala.
Recent highlights include Quint and Prologue Turn of the Screw with Opera Glassworks under the baton of John Wilson, St John Passion at the Théatre du Châtelet, the staged world premiere of Gerald Barry’s Alice’s Adventures Under Ground at the Royal Opera House, Count Ory Le Comte Ory with Garsington Opera and Beethoven’s Symphony No. 9 with the London Symphony Orchestra and Sir Simon Rattle.
Murray has performed principal roles with the Royal Opera House, Hamburg State Opera, the Salzburg Festival, English and Welsh National Operas, Norwegian Opera, Bergen National Opera, Garsington Opera, the Beijing Music Festival, the Venice Biennale, and the Edinburgh International Festival among many others. He collaborates regularly with such conductors as Edward Gardner, Sir Mark Elder, Harry Christophers, Sir Simon Rattle and Paul McCreesh both in opera and concert.
In the concert hall, Murray has performed internationally with many of the world’s leading orchestras and ensembles, including the London Symphony Orchestra, City of Birmingham Symphony Orchestra, Orchestra of the Age of Enlightenment, BBC Symphony Orchestra, Spira Mirabilis, Barokksolistene, Mahler Chamber Orchestra, the Philharmonia, Aurora Orchestra, The Handel & Haydn Society of Boston, the Boston Symphony and the Seattle Symphony Orchestra.
In recital, Murray performs with Andrew West, James Baillieu, Graham Johnson, Joseph Middleton, Malcolm Martineau at venues including The Aldeburgh Festival, Brighton Festival, Wigmore Hall, Dartington Hall and The Oxford Lieder Festival. Murray has recorded opera, song, and oratorio extensively for multiple labels. These recordings include Bach St John Passion with David Temple (Chandos) Berlioz Grand Messe des Morts, Mendelssohn Elijah with Paul Mccreesh (Winged Lion), extracts from Britten Gloriana and Szymanowski Harnasie with Edward Gardner (Chandos), Berg Der Wein with Mario Venzago and Gothenberg Symphony Orchestra (Chandos), Handel Saul with Harry Christophers and The Sixteen (Coro), Offenbach Fantasio with Mark Elder (Opera Rara), Schumann/Rückert Songs with Sholto Kynoch (Stone Records), Malcolm Martineau's Complete songs of Poulenc (Signum), and Schubert Die Schöne Müllerin with Andrew West (Stone Records).
Murray is a committed exponent of contemporary music and has performed the music of Gerald Barry, Hans Werne Henze, Harrison Birtwistle, Colin Matthews, Cecilia McDowell, George Benjamin, Elliott Carter, and Emily Hall, in recital, concert, and staged premieres.
Murray studied Music and History at the University of Newcastle, and went on to study voice at the Royal College of Music, before joining first the National Opera Studio, and finally the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden.
“Murray, in one of his finest performances to date, makes an exceptional Belshazzar, superbly sung, attractive yet cowardly, unthinking and vainglorious"
“The star of the evening was tenor Robert Murray ... Murray had it all – a clear voice suffused with brightness, great diction, solid highs, pitching in at maximum expressivity with the most beautiful lilt.”
“Murray’s intelligence shines through across the complete cycle, with clever interpretative touches in the strophic songs … his German is natural and idiomatic, the words sitting unobtrusively on phrases that are beautifully turned … a beguiling performance, one delighting in the cycle’s melodic pleasures and Schubertian grace."