MatthewRose

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Bass
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News

  • 18 March 2024

    Bayerische Staatsoper 2024/25 season to feature 23 Askonas Holt artists

    Read full article
  • 18 November 2021

    Matthew Rose debuts as Wotan & Nicky Spence as Siegmund at English National Opera

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Press

  • Dvořák Stabat Mater with Berlin Philharmonic and Jakub Hrůša

    Berlin Philharmonie
    Oct 2023

  • Wanger's Tristan und Isolde

    Grange Park Opera
    Jun 2023

    • there was no lack of passion of the non-erotic kind in Matthew Rose’s King Marke, Christine Rice’s Brangane and David Stout’s Kurwenal. These were the best voices on the stage. Rose’s portrayal of the king was an object lesson in nobility, every line infused with pathos – he got a huge ovation, and rightly so.

    • Matthew Rose, who has few peers among operatic basses, was simply magnificent as King Marke, noble and sorrowing in his Act 2 lament. Like Tristan we could only hang our heads at such a bewildered, wronged man.

    • There is a magnificently sonorous and forceful King Marke from Matthew Rose, stoical and wronged...

    • ...Matthew Rose a deeply considered, resonant King Marke.

    • ...Matthew Rose makes much of King Marke’s painful monologue.

    • Christine Rice and Matthew Rose also give standout performances as Brangäne and King Marke respectively, Rice smoothly warm in tone and Rose devastating on discovering he has been betrayed by Tristan.

  • Donizetti's Lucia di Lammermoor

    The Metropolitan Opera
    Apr 2022

  • Verdi's Don Carlos

    Metropolitan Opera
    Feb 2022

    • The silky, articulate bass Matthew Rose is luxury casting as the monk who — stick with me — might actually be Charles V, Philippe’s father, who is (at least presumably) recently dead. Why isn’t Rose singing Philippe?

  • Wagner's The Valkyrie

    English National Opera
    Nov 2021

    • Matthew Rose is the first bass Wotan to appear in London for some time, and made a remarkable debut. He marshals his vocal resources well, lyric and flexible in the role’s fearsome upper reaches, and eking out a host of colours and shades in the middle and lower down – it is particularly gratifying, in an era where Wotan tends to bend towards the baritone, to hear such richness and focus in the darkest regions of Act two’s monologue. Indeed, the latter was a sensational sequence in terms of its storytelling – crisp, deft, and delivered with poise and focus. The psychological shading of his performance was remarkably engaging: he was by turns a lackadaisical narcissist, wounded and deflated by Fricka’s invective; a depressive; a man whose frustrations boil over into raging and ranting. And, last of all, someone in whom a flicker of kindness still burns.

    • The true spark came from Matthew Rose’s Wotan…Debuting in a role he seems born to sing, Rose matched forceful presence with a voice that ranged from molten lava to towering granite-edged peaks.

    • In Matthew Rose, ENO has a Wotan who promises to be the highlight of its Ring...this deep-toned, lyric bass sings with such nobility and beauty that he is surely a world-class Wagnerian in the making.

    • Matthew Rose, costumed like a trainspotter, sang a gripping Act 2 narration, wrapping his warm bass around the text keenly.

    • Climbing on all fours over a daybed, the eloquent, lyrical bass Matthew Rose conveys in an instant the essential childishness of Wotan, the king of the gods.

    • Matthew Rose seemed to be channelling John Tomlinson’s later Wotans... as a commanding Wotan he delivered with aplomb...[and] gave John Deathridge’s direct and effective new translation life: one could get behind these words well.

  • Mozart's Don Giovanni

    Chicago Lyric Opera
    Nov 2019

    • Matthew Rose as Leporello proved a superlative foil for Meachem’s Don. The two men showed a symbiotic rapport, throwing their dialogue back and forth with such rapid-fire ease one could almost believe they had been master and valet for years. Rose delivered a graceful Catalogue Aria and showed surprising agility in Leporello’s tongue-twisting patter in Act II. But mostly he was genuinely funny, a rarity in a role often played with clownish overkill; Rose’s goofy dance moves in the ensemble scenes were a hoot, cracking up Susan Graham, in the audience on a night off from Dead Man Walking.

    • He is ideally balanced by bass Matthew Rose, who wonderfully animates Leporello, Giovanni’s valet — an opera-buffa type who supplies much of the production’s humor and serves as a kind of court jester, revealing uncomfortable truths about his boss. Rose revels in all the physical, even slapstick comedy that this important role demands while handling its considerable vocal demands — including patter song and intricate ornamentations — with commendable agility and seeming ease.

    • Matthew Rose was a devoted Leporello, who brought genuine freshness to the iconic ‘Catalogue’ aria.

    • Matthew Rose plays a particularly sleazy and pimpish Leporello, and his physical comedy is beautifully timed and executed. In this production, he is clearly Don Giovanni’s enabler in all his wretched excesses.

    • There also is the master-servant relationship between Giovanni...and Leporello (British bass Matthew Rose, whose antic physicality is most winning, and who deftly suggests his character’s awareness of his own moral weaknesses).

  • Mussorgsky's Boris Godunov

    Royal Opera House
    Jun 2019

    • Matthew Rose’s sonorously sung Pimen, the chronicler-monk whose account of a miracle at the tomb of the murdered tsarevich tips Boris inexorably towards madness and death, is the vocal star, surely destined to sing the title role in the near future.

    • I suspect that bass-baritone Matthew Rose, who sings the role of the monk Pimen, would actually make a better Boris. When the two men share the stage in the final scene, it’s Rose’s voice I prefer to listen to. Terfel’s sound has become dry and hard; Rose’s sound is bigger, warmer, and much more beautiful, and he too is a fine actor.

    • No one at all is really the answer in Jones’s production, in which history rolls along, conspiracies are done and undone, and the mess can only be chronicled by the powerless, here most sympathetically represented by Matthew Rose’s nobly sung, fiercely sympathetic old monk, Pimen.

    • Matthew Rose is in noble voice as the monk Pimen