Ann Murray DBE

© Sian Trenberth


Ann Murray has been acclaimed for her performances of the great Handel, Strauss and Mozart roles in the opera houses of  Hamburg, Dresden, Brussels, Paris, Berlin, Cologne, Zurich, Amsterdam, the Chicago Lyric Opera, the Metropolitan Opera, New York, Teatro alla Scala, Milan, the Wiener Staatsoper and the Salzburg Festival.  She has particularly strong links with English National Opera, the Royal Opera House, Covent Garden and the Bayerische Staatsoper, Munich.  In 1998 Ann Murray  was made a Kammersängerin of the Bayerische Staatsoper and in 2002 was appointed an honorary DBE in the Queen’s Golden Jubilee Birthday Honours.



  • 03 Oct 16 Purcell Dido and Aeneas
    St John's Smith Square
    More info  

    She played someone who has achieved a lot in public life and then gets it wrong in love. Stately, adored and vulnerable, we really wanted to get to grips with what she had done to deserve the nastiness of the Witches.
    Planet Hugill/ Ruth Hansford

  • 12 Jul 16 FAURE Complete Songs of Fauré, Vol 1
    More info  

    “Ann Murray, who spins long, velvety lines in songs ranging from Fauré’s first published work to the Cinq Mélodies “de Venise”, taking in a gorgeously supple Après un Rêve on the way.”
    Erica Jeal, The Guardian, 7 July 2016 

  • 21 Apr 16 Irish Culture in Britain: A Centenary Celebration / 21 April 2016
    Wigmore Hall
    More info  

    “Just as deep melancholy, and a recollection of what Yeats called a “terrible beauty”, threatened to overwhelm us all, Ann Murray leapt in with a dazzle of patter-song doggerel. The traditional Phil the Fluter’s Ball – “with the toot of the flute and the twiddle on the fiddle-o, Hopping in the middle like a herrin’ on a griddle-o” – brought the house down.
    Murray was then presented, by Daniel Mulhall, the Irish ambassador, and John Gilhooly, with the Wigmore Medal. She deserved it for that performance alone, delivered with the finger-pointing, gossipy aplomb of one who might have propped up a Dublin bar all her life. Luckily for us she has, so far, decided against that path, preferring a world-class operatic, oratorio and lieder career which continues, after some four decades, busy as ever.”
    Fiona Maddocks, The Observer, 24th April 2016

  • 26 Oct 15 Britten The Turn of the Screw
    Aurora Orchestra, Snape Maltings Aldeburgh - 24 October 2015; St Luke's London - 26 October 2015
    More info  

    “In a fine cast, everyone hit a raw nerve. Bevan, in lustrous voice, lost a few words but commanded attention. Ann Murray made a remarkably potent Mrs Grose, and the two ghosts, Staples’s Quint and Jane Irwin’s Miss Jessel, had plenty of petulant vehemence. The children, Joshua Kenney’s Miles and Louise Moseley’s Flora, provided perfectly horrible blank complicity as the screw turned.”
    Neil Fisher, The Times, 29 October 2015 

    “inflecting with an intelligence and subtlety that suggests housekeeper Mrs Grose understands more than she says”
    David Nice, The Arts Desk, 27 October 2015 

    “Ann Murray’s convincing Mrs Grose”
    Helen Wallace,, 28 October 2015 

  • 18 Aug 15 Mozart Le nozze di Figaro
    Salzburg Festival
    More info  

    “Ann Murray, on crisp, Maggie Smith form, sizzled as Marzellina.”
    Fiona Maddocks, The Observer, 23 August 2015

    Malcolm Martineau, Linn Records
    More info  

    “Ann Murray sings with still-steady tone, sensitive phrasing and a quiet, concentrated intensity, flaring into passion in the central ‘An die Königin Elisabeth’ and culminating in a hypnotic, otherworldly ‘Gebet’ as Mary prays for deliverance. Here, and elsewhere, Murray has the art of increasing the tension without raising the volume.”
    Richard Wigmore, Gramophone Magazine

    “Here are 25 songs that take you to the heights of 19th Century Romanticism, performed beautifully by some of the best current Lieder artists. … This is a marvelous Lieder album.”
    Mary Kunz Goldman, The Buffalo News, 1 March 2015 

    ‘Her Schumann selection begins with a touchingly delivered account of the Poems of Mary, Queen of Scots in which her artistic intelligence and commitment are as apparent as her skilful balance between words and notes.’
    BBC Music Magazine (June 2015)

  • 27 Jun 14 Britten 'Peter Grimes': 26, 27, 29 June 2014
    Davies Symphony Hall
    More info  

    with San Francisco Symphony/Michael Tilson Thomas

    “Mezzo-soprano Ann Murray was warm-voiced, a charmer as Auntie, landlady of the Boar, the village’s public house.”
    Richard Scheinin, San Jose Mercury News, 27 June 2014

    “superb dramatic and vocal contributions are made by mezzo Ann Murray, as Auntie, the owner of the local pub”
    David Wiegand, SFGate, 27 June 2014 

    “Ann Murray, Nikki Einfeld, and Abilgail Nims did fine work as Auntie and her two nieces”
    Jeff Dunn, San Francisco Classical Voice, 26 June 2014 

  • 13 Jan 14 Brahms Recital with Hanno-Müller-Brachmann
    Wigmore Hall
    More info  

    “Her still-penetrating mezzo was the highlight of the evening. This voice has had one careful owner and it shows in the way Murray really sings through Brahms’s cantabile lines while losing nothing in theatrical awareness. As a teardrop flows down the face of the narrator of Die Mainacht, so did Murray’s voice pour out similar pathos; in arguably the classic Brahms lied, Von ewiger Liebe, eloquent gesture and expression were fused.”
    Neil Fisher / The Times / 15 January 2014

  • 11 Aug 13 Mozart Le nozze di Figaro
    Rose Theater, New York
    More info  

    “The veteran mezzo-soprano Ann Murray, as Marcellina, and the blustery baritone Andrew Shore, as Bartolo, who have their own reasons for trying to derail Figaro’s marriage to Susanna, bring not a trace of stock comic posturing to their winning portrayals.”
    Anthony Tommasini, New York Times, 12 August 2013 

  • 01 Dec 12 Britten Centenary / December 2012
    Wigmore Hall
    More info  

    “Ann Murrays … singing of the final one, ‘The nurse’s song from The Play of Patient Grissell was a master class in the art of sustaining a legato line whilst providing the most telling interpretation.”
    Music OMH Web, Melanie Eskenazi, December 2012

  • 01 Nov 12 Vaughan Williams The Pilgrim's Progress
    English National Opera
    More info  

    “Ann Murray makes vivid cameos of Madam Bubble in the Vanity Fair scene (a riot of colour thanks to Sue Wil­mington’s fancy-dress costumes, in marked contrast to her prison wear) and Mrs By-Ends.”

    Hugh Canning Sunday Times

    “ENO favourites Ann Murray and Timothy Robinson twitter and titillate in the multiple leading roles”

    Anna Picard Independent on Sunday

    “several of ENO’s brightest young hopes – Benedict Nelson and Kitty Whately among them – complement expert old-timers such as Timothy Robinson and Ann Murray in a variety of minor roles.”

    Rupert Christiansen The Telegraph

  • 01 Jun 12 Mozart Le Nozze Di Figaro
    Glyndebourne Festival
    More info  

    “More entertaining singing came from the comprimario roles, a splendidly eccentric triumvirate of Ann Murray as Marcellina”
    Mike Reynolds Musical Criticism

    ‘…and the double act of Ann Murray’s bird-like Marcellina and Andrew Shore’s explosive Bartolo is treasurable.’
    Edward Seckerson The Independent

    ‘The best performances come from Marcellina (Ann Murray), dowdy Bartolo (Andrew Shore) and louche Basilio (Alan Oke), three feisty characters in search of a real drama to get their teeth into.’

    Andrew Clements The Guardian

  • 23 Apr 12 Donizetti La Fille du Regiment
    Royal Opera House
    More info  

    April 2012’She made the part just as much her own as she did on the last two outings, continually impressing for her comic sensibility as much as her superb vocal performance. She simply commanded the stage with ‘Pour une femme de mon nom’, her lower register particularly plush and resonant.’
    John E. De Wald Opera Brittania

    ‘Ann Murray and Donald Maxwell, excel as the La Marquise de Berkenfeld and Hortensius with their brilliant command of comic gesture and timing’

    Sam Smith Music OMH

    ‘Ann Murray was in particularly fine comic form as the Marquise de Birkenfield who spirits Marie away from the regiment to her ancestral château, particularly impressive as she plays the piano for Marie’s singing lesson while singing her own lines and staying thoroughly in character.’

    David Karlin / Bach Track

    ‘Ann Murray again demonstrates her peerless dry comic stagecraft as the Marquise de Berkenfeld’

    Graham Rogers / The Stage

    ‘Ann Murray was superbly ridiculous as the traumatised and desperate Marquise de Berkenfield (especially her alternate straight man/fall guy “singing lessons” with Marie and Sulpice: the singing about singing produced some of the best moments in the opera)’

    ASH Smyth The Arts Desk