Audun Iversen

Described by the San Francisco Examiner as having a voice of ‘vocal heft’ and ‘dramatic vigour’, Norwegian bartione Audun Iversen, is a global star of the opera stage.

© Tonje Eliasson


Norwegian baritone Audun Iversen began singing at the age of 22. He won the “Queen Sonja International Singing Competition” 2007 in Oslo and made the final in the “Hans Gabor Belvedere Singing Competition” in Vienna, in addition to being the first singer to win the newly founded “Ingrid Bjoner Scholarship”.

Audun has appeared at many distinguished houses including Royal Danish Opera, Royal Opera House Covent Garden, San Francisco Opera, Deutsche Oper Berlin, Theater an der Wien, English National Opera, Opera di Roma and Lyric Opera of Chicago. Engagements 2015/16 included performances of Carmina Burana with the Slovak Philharmonic Orchestra, Royal Liverpool Philharmonic and for Radio France, War Requiem with the New Japan Philharmonic conducted by Daniel Harding, and his role debut as title role Wozzeck for Frankfurt Opera.

Engagements for the 2016/17 season include Marcello La bohème for the Royal Danish Opera, Albert Werther for Opernhaus Zurich, and Marcello for his return to San Francisco Opera. Further ahead Audun will sing Germont La Traviata for Opera Sør, and will make his role and house debut as Fieramosca Benvenuto Cellini  Paris Opera.



  • 14 Jun 17 PUCCINI La Boheme
    San Francisco Opera
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    “The strongest work came from tenor Arturo Chacón-Cruz as Rodolfo and Norwegian baritone Audun Iversen (who delivered one of the most solidly-sung Marcellos I’ve heard in years).”

    George Heymont, The Huffington Post, 3 July 2017


    “A notable highlight came in Act 3, set near the snow-sprinkled gloom of a Parisian city gate. The consumptive Mimi (Erika Grimaldi), in distress about a fraying relationship with her jealous lover, Rodolfo (Arturo Chacón-Cruz), has come to seek out the counsel of a friend. Marcello (Audun Iversen), only too familiar with the ravages of sexual possessiveness, lends a sympathetic ear.

    Clasped together in a firm but chaste embrace, Grimaldi and Iversen spun out their duet in terms at once soaring and tenderly intimate. It was all achingly real, set off by the evocatively austere scene by production designer David Farley and bluish predawn lighting by Michael James Clark.”

    Steven Winn, San Francisco Classical Voice, 13 June 2017


    “Norwegian lyric baritone Audun Iversen impressed as the painter Marcello, whose on-again, off-again relationship with Musetta tortures the character through most of the opera.”

    William Burnett, Opera Warhorses, 12 June 2017


    “Baritone Audun Iversen provided vocal heft and dramatic vigor as the painter Marcello, one of Rodolfo’s roommates. Iversen was as compelling in his attempt to offer support to his friend Rodolfo’s relationship worries as he was in displaying his own amorous feelings and frustrations concerning his love Musetta.”

    James Ambroff-Tahan, The San Francisco Examiner, 11 June 2017


  • 06 Apr 17 MASSENET Werther
    Zurich Opera
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    “Das wird umso deutlicher, als auch die übrigen Figuren ideal besetzt sind: Da ist Albert (Audun Iversen), der Gatte mit dem vertrauenerweckenden Bariton, der aber stahlhart wird, sobald er merkt, wie viel Werther seiner Charlotte bedeutet.”

    “…What becomes even clearer, is that the other characters also are ideally casted: There is Albert (Audun Iversen), the husband with the trustworthy baritone, that becomes stone-cold as soon as he sees how much Werther means to his Charlotte.”

    Susanne Kubler, Tages Anzeiger, 6 April 2017


    “Die bürgerliche Sphäre von Charlotte (sensationell: Anna Stéphany) und ihrem Mann Albert (fabelhaft: Audun Iversen) wird hingegen einseitig als trostloser Alltag diffamiert.”

    “The bourgeois sphere of Charlotte (sensational: Anna Stéphany) and her husband Albert (fabulous: Audun Iversen) is, in comparison defamed as a bleak everyday life.”

    Werner M. Grimmel, Schwaebische, 4 April 2017


    “….Audun Iversen played an unbending and painfully conservative Albert, Charlotte’s husband-by-decree. Alongside his errant wife, he was as strong as to make us uncomfortable, and he showed a equally tight command of his vocal work.”

    Sarah Batschelet, Bachtrack, 3 April 2017


    “Herausragend auch Audun Iversen, welcher mit seinem herrlich ausgeglichen timbrierten, sonoren Bariton einem die Rolle des Albert auf sympathische Art und Weise näher brachte.”

    “Outstanding (was) also Audun Iversen, who with his wonderfully even timbre and sonorus baritone brought you closer to the sympathetic side of the role of Albert.”

    Kasper Sannemann, Oper Aktuell, 2 April 2017


  • 23 Oct 16 PUCCINI La bohème - Marcello
    Royal Danish Opera, Copenhagen
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    “…Man forstår godt, at voldsomt velsyngende Audun Iversens Marcello falder for hende,…”

    “…One understands well that extremely well-sung Audun Iversen’s Marcello falls for her,….”
    Søren Kassebeer, Berlingske, 24 October 2016


    “…, og som Musettas egentlige kærlighed, kunstmaleren Marcello, er Audun Iversen virkelig glimrende.”

    “…, and as Musetta’s real love, the painter Marcello, Audun Iversen is truly brilliant.”
    Thomas Michelsen, Politiken, 24 October 2016 


    “Audun Iversen gjorde Marcello med praktful baryton och stor trovärdighet.”

    “Audun Iversen performed Marcello with a magnificent baritone and great credibility.”
    Lars-Erik Larsson, Skånska Dagbladet, 25 October 2016 


    “…og Puccinis musik får ligeledes den smukkeste kraft frem i den norske baryton Audun Iversen som Marcello.”

    “…and Puccini’s music equally brings out the most beautiful power in the Norwegian baritone Audun Iversen as Marcello.”
    Bettina Nielsen, Magasinet KBH, 23 Oct 2016 


    “…mørk, fyldig baryton sprudler Audun Iversen som den kække kunstnerfyr og kvinnebedårer Marcello”

    “…dark, full-bodied baritone Audun Iversen shines as the cocky artist and womanizer Marcello”
    Christine Christiansen, Jyllands-Posten, 25 October 2016

  • 06 Jul 16 BERG Wozzeck
    Frankfurt Opera
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    “All the soloists… gave a magnificent performance… Audun Iversen gave an impressive Frankfurt Title role debut.”
    Bettina Boyens, Musik Heute, 27 June 2016 

    “Audun Iversen was impressive in the title role as a hopelessly driven, big uncouth child, who doesn’t understand himself.”
    Dr. Josef Becker, Bild Frankfurt

    “As Wozzeck, the Norwegian baritone Audun Iversen gave in his role debut a wonderful portrait of the layers of this character’s psyche. Vocally he managed to express Wozzeck’s feelings in an abundance of facets, his helplessness towards the Hauptmann and Doktor, his crazy visions which in the beginning inhibited him, then subsequently openly erupted aggression against Marie and his confusing despair that eventually drowns him in the water.”
    Christoph Wurzel, Bachtrack, 28 June 2016

    “The Norwegian baritone Audun Iversen, tall and stocky, also vocally does everything, without forcing and by using considerable vocal warmth and sonority….”
    Hans-Klaus Jungheinrich, Frankfurter Rundschau, 27 June 2016

    “The Norwegian baritone Audun Iversen gives a dramatically and musically impressive Wozzeck…”
    Stefana Sabin, 

    “The power centre of the staging is, scenically and vocally, the burly, beefy Wozzeck of Audun Iversen. The body betrays how he feels: constantly in motion, constantly in waiting position, always anxious between attack and defence. Vocally he is mostly holding his big baritone back, clearly troubled, with plenty of room for outbreaks.”
    Bernd Zegowitz, Die Rheinpfalz

  • 24 Apr 15 VERDI La traviata
    Den Norske Opera, Oslo
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    “Audun Iversen har sin rolledebut som Germont, Alfredos far. Har gir ikke bare scenisk vekt og autoritet til skikkelsen, men fyller rollen overdådig praktfullt vokalt.”

    “Audun Iversen makes his role debut as Germont, Alfredo’s father. He doesn’t only give dramatic weight and authority to the character, but also fills the role with lavish and wonderful vocals.”
    Dagbladet, 27 April 2015

    “De sterkeste sanglige øyeblikkene oppsto likevel i dialogene mellom Violetta og Alfredos far, Audun Iversen, som med stor stemmeprakt også spente over et rikt følelsesregister.”

    “The strongest and most musical moments took place in the dialogues between Violetta and Alfredo’s father, [sung by] Audun Iversen, who with vocal splendour also covered an abundant range of emotions.”
    Aftenposten, 25 April 2015

    “Vi må ta hatten av for barytonen Audun Iversen som her synger i rollen som Giorgio Germont, faren, og som har sin scenedebut i denne rollen på Bjørvika. På grunn av sykdom har han hatt et prøveopphold på hele to uker i forkant av premieren. Men dette merket vi ikke noe til, han var i det hele tatt strålende både som sanger og som sceneskikkelse.”

    “Hats off to the baritone Audun Iversen who here sings the part of Giorgio Germont, the father, and has his stage debut in the role at the National Opera. Due to illness he had a break in rehearsals for up to two weeks leading up to the premiere. But this was unnoticeable, he was simply magnificent both as a singer and character.”
    Kulturspeilet, 25 of April 2015

    “Vocally, the standout was Audun Iversen’s Germont. His voice is remarkably secure, and he sang the long Act II duet with Violetta with heartbreaking sincerity. He managed to find a more manipulative side for ‘Di Provenza il mar’ and the power with which he hurled out the high B flat at the end of Act II scene 1 was breathtaking.”
    Aksel Tollåli, Bachtrack, 28 April 2015

    “Den eneste som kunne bære sin rolle var Audun Iversen som Germont, faren som tvinger Violetta til å overgi Alfredo for hans families ære. Iversens stemme er av tilstrekkelig kraftig kaliber for å kunne musisere med Verdis musikk. For å kunne leke med musikken må han også ha en jevnhet og en beherskelse av hele registeret og i alle dynamikker. Legg dessuten til at hadde sterk nok musikalsk vilje for å kunne lede dirigenten til noen musikalske poeng som går på utforming av tid.”

    “The only one who could carry his role was Audun Iversen as Germont, the father who forces Violetta to give up Alfredo to save his family’s honour. Iversen’s voice is of a sufficient strong calibre to be able to “make music” with Verdi’s music. To be able to play with the music also requires an evenness and control of the whole range and of all dynamics. Add to that that he also had strong enough musical willpower to lead the conductor to some musical points when it came to shaping the tempi.”
    Magnus Andersson, Klassekampen, 4 May 2015

    “authority was embodied in the figure of Norwegian baritone Audun Iversen as Germont père, making a real impression in this role.”
    Opera Now July/August 2015

  • 09 Oct 14 R. STRAUSS Capriccio
    Chicago Lyric Opera
    More info  

    “Nearly all of Scandinavia was represented with Norwegian baritone Audun Iversen having a fine Lyric debut as the nervous poet Olivier”
    Chicago Sun Times, 7 October 2014 

    “Lyric has surrounded its starry soprano with a top-drawer supporting cast. Audun Iversen made a most impressive company debut as Olivier. The Norwegian baritone displayed a warm and flexible voice and deftly balanced the comedy with sincerity, looking like a bespectacled scholar yet ardent in making his impassioned, awkward moves on the Countess.”
    Chicago Classical Review, 7 October 2014 

    “As her two suitors, William Burden and Audun Iversen make an eloquent argument for the supremacy of their respective disciplines. Iversen is a real discovery and his juicy lyric baritone made the best possible case for Olivier’s poetry—even though Strauss makes clear where his bias lies.”
    Jason T. McVicker, GB Opera Magazine, 9 October 2014 

  • 21 Aug 14 VERDI Il Trovatore
    Opera Hedeland, Denmark
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    “Audun Iversen som Greve Luna kan lägga ännu en storartad rolltolkning till sina övriga med mycket klangrik baryton och myndig aktion.”

    “Audun Iversen as Count Luna can add yet another brilliant role interpretation to his others, with a very sonorous baritone and authorative action.”
    Skå (Swedish online newspaper for South-Sweden)

    “Norske Audun Iversen er ligeledes overlegen med sin kraft- og udtryksfulde barytonstemme, særligt i soloen “Il balen del suo sorriso”. Hans forelskede hersker synes også mere kompleks end de andre karakterer.”

    “Norwegian Audun Iversen is in the same way superb with his powerful and expressive baritone voice, especially in the aria “Il balen del suo sorriso”. His in-love authority figure also seems more complex than the other characters.”
    Magasinet KBH (Danish online magazine for Copenhagen)

  • 17 Jan 14 MASSENET Manon
    Royal Opera House Covent Garden
    More info  

    “led by Audun Iversen’s dramatically dynamic and punchily sung Lescaut”
    The Stage, January 2014 

    “Audun Iversen’s Lescaut was fittingly rumbustious, swaggering arrogantly and singing with vigour and vitality”
    Claire Seymour, Opera Today, 22 January 2014 

    “Audun Iversen gave strength and presence as Lescaut, Manon’s cousin.”
    David Karlin, Bachtrack, 15 January 2014 



Benvenuto Cellini (Fieramosca)

Written on Skin (The Protector)

Wozzeck (title role)

The Pearl Fishers (Zurga)

Alceste (Hercule)

Pagliacci (Silvio, Tonio)

Cavalleria Rusticana (Alfio)

Manon (Lescaut)
Werther (Albert)

Il Ritorno d’ulisse in Patria (Eumete)

Cosi fan tutte (Guglielmo)
Don Giovanni (title role)
Le nozze di Figaro (Conte Almaviva)
The Magic Flute (Papageno)

La bohème(Marcello, Schaunard)
Madama Butterfly (Sharpless)

Capriccio (Olivier)

Eugene Onegin (title role)
Pique Dame (Yeletsky)

Il Trovatore (Conte di Luna)
La Traviata (Germont)