Audun Iversen


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 in the 15/16 season 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 16/17 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 debut as Fieramosca Benvenuto Cellini. He will also make his Paris Opera debut.

This is for information only. Please contact Camilla Wehmeyer for an up-to-date biography.

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News & Features


Operatic Repertoire

BERG - WOZZECK, title role
PUCCINI - LA BOHEME, Schaunard and Marcello 

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La bohème - Marcello

Royal Danish Opera, Copenhagen

"...One understands well that extremely well-sung Audun Iversen's Marcello falls for her,...."

"...Man forstår godt, at voldsomt velsyngende Audun Iversens Marcello falder for hende,..."
Søren Kassebeer, Berlingske, 24 October 2016
"..., and as Musetta's real love, the painter Marcello, Audun Iversen is truly brilliant."

"..., og som Musettas egentlige kærlighed, kunstmaleren Marcello, er Audun Iversen virkelig glimrende."
Thomas Michelsen, Politiken, 24 October 2016
"Audun Iversen performed Marcello with a magnificent baritone and great credibility."

"Audun Iversen gjorde Marcello med praktful baryton och stor trovärdighet."
Lars-Erik Larsson, Skånska Dagbladet, 25 October 2016
"...and Puccini's music equally brings out the most beautiful power in the Norwegian baritone Audun Iversen as Marcello."

"...og Puccinis musik får ligeledes den smukkeste kraft frem i den norske baryton Audun Iversen som Marcello."
Bettina Nielsen, Magasinet KBH, 23 Oct 2016
"...dark, full-bodied baritone Audun Iversen shines as the cocky artist and womanizer Marcello"

"...mørk, fyldig baryton sprudler Audun Iversen som den kække kunstnerfyr og kvinnebedårer Marcello"
Christine Christiansen, Jyllands-Posten, 25 October 2016



Frankfurt Opera

"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,, 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


La traviata

Den Norske Opera, Oslo

"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



Chicago Lyric Opera

"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 Oct 2014


Il Trovatore

Opera Hedeland, Denmark

"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)



Royal Opera House Covent Garden

"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" Opera Today, 22 January 2014
"Audun Iversen gave strength and presence as Lescaut, Manon’s cousin.", 15 January 2014


The Barber of Seville

San Francisco

"Thursday's performance was graced by the dynamic U.S. debut of Norwegian baritone Audun Iversen as Figaro, the wily titular barber who makes sure that Almaviva's ruses work nearly as planned. From his full-throated opening delivery of "Largo al factotum" to his nimble stage work throughout Act 2, Iversen gave a bold and arresting performance." Joshua Kosman, San Francisco Chronicle, 15 November 2013
"Audun Iversen in his U.S. opera debut was a vivid barber with a lustrous voice and a sharp sense of comic timing. The Norwegian baritone’s “Largo al factotum” was vibrantly delivered, and the best moments of the night occurred when he was scheming with one or another of the characters, particularly the marvelous Rosina of mezzo Daniela Mack." CBSlocal, 26 November 2013
"Daniela Mack, Alek Shrader, Auden Iversen and Maurizio Muraro Sparkle in San Francisco Opera “Barber of Seville”
The evening’s two major San Francisco Opera debuts were Auden Iversen, the Norwegian baritone singing Figaro and Maurizio Muraro as Dr Bartolo.

Figaro enters the opera in a blaze of glory, singing the ultra-familiar aria Largo al factotum and engaging in a lively series of duets with Almaviva. Iversen’s Figaro was eye-catching and ear-pleasing.!"

Opera Warhorses, 16 November 2013


Eugene Onegin

The Bolshoi in Tel Aviv

"In the title role, Audun Iversen sounded impressive enough to make one understand why Tatiana should have fallen in love with his sonorous, dark-timbred baritone. His polite, detached expression after the letter scene changed into convincingly impassioned emotional outbursts in his final confrontation with Tatiana, achieving a forceful though hopeless climax of the opera."
Ury Eppstein, The Jerusalem Post, June 2013


La bohème - Marcello

Royal Opera House, Covent Garden

"Aided by a superb trio of room-mates played by Audun Iversen (Marcello), Nahuel di Pierro (Colline) and David Bizic (Schaunard), they all combine rich and powerful voices with excellent acting ability which follows Villazon's lead in injecting extra humour and vitality to the production." Daily Express, December 2012
"Audun Iversen proves impressive as Marcello, his rich baritone voice producing a sound of great strength and evenness" Music OMH, January 2013
"Audun Iversen, Albert to Villazón's Werther, was perhaps the most impressive singer on stage as Marcello, vocally commanding (a good ‘Gioventù mia’ in Musetta’s Waltz Song), and offered a sympathetic audience to Mimì in Act III. He also participated in the musical highlight of the evening, the duet ‘O Mimì, tu più non torni’ with Villazón. His interactions with Stefania Dovhan’s flighty Musetta (making her house debut) had all the right spark" Opera Brittania, January 2013
"Norwegian baritone Audun Iversen’s full, rounded tone provided the basis for a warm and winning Marcello" The Stage, December 2012


Carmina Burana

Royal Scotish National Orchestra

"The finest of the soloists was Audun Iversen, a truly beautiful voice with a smooth tone and honeyed colour that you could revel in, but summoning enough dramatic power to convince as the corrupt Abbot."

Seen and Heard International, November 2012


Carmina Burana

Carnegie Hall, New York + Chicago Symphony

"Norwegian baritone Auden Iverson’s contributions were not only luxuriously sung, but his various songs took on characterizations of their own: his “Estauns interius” had a touch of cynicism, his “Ego sum abbas” an irreverent decadence and his “Dies, nox et Omnia” delightfully emphasized discomfort when it was textually and range appropriate without coming across as strain."

The Classical Review, September 2012
"the impressive Norwegian baritone Audun Iversen used his warmly attractive lyric voice with great sensitivity, illuminating the texts from within. His singing carried stentorian force when it needed to and could hardly have been more smoothly integrated with that of the chorus. What a pleasure to hear any baritone scale the freakish range of "Dies, nox et omnia" (in which a young man bewails the cold heart of his beloved) so firmly." Chicago Tribune, September 2012
"Iversen displayed confidence across the wide range called for In his parts." Chicago Sun Times, September 2012


Le Nozze di Figaro - The Count

Glyndebourne Festival Opera

"Audun Iversen's firmly sung Count, complete with curling lip, dominates as he should..." The Sunday Telegraph, July 2012
"The cast is strong throughout, and there is so much to thrill to. Lydia Teuscher, Vito Priante and Audun Iversen as Susanna, Figaro and the Count, are all splendid vocally and play their wonderful games with rare gusto." Gramophone, June 2012

"Audun Iversen’s Count, in Moody Blues hairdo and moustache, has a big enough personality, vocally and histrionically, to dominate the stage."

Financial Times, June 2012
"Audun Iversen’s moody, sexually frustrated Count and Ann Murray’s deeply human Marcellina add to the richness of the picture." The Stage, June 2012


Eugene Onegin - title role

English National Opera

"A Traditional but Never Boring "Onegin"

This co-production between the Met and English National Opera is that rare thing in today’s opera world -- a clean, faithful telling of the story, as envisaged by the composer...The men took the honors. Norwegian baritone Audun Iversen was a beautifully sung and acted Onegin, broody, disconsolate, passionate, growing in stature as the work progressed"

Musical America, November 2011
"he was acting, extremely well, a young man not entirely confident at being an adult. Hence the overplayed self-importance, the drinking (his surreptitious helping himself to a refill in Scene 1 was a nice touch), and his patronising humiliation of Tatyana – again, his arrogant god’s-gift-to-women long, forced kiss before he discards her was shockingly probable, as was Tatyana’s final miserable embrace before she abandons him. Iversen makes Onegin satisfyingly insecure and supercilious; he sang beautifully and was compelling as the drunken empty husk of a man in Act Three." Classical Source, November 2011
"But it’s with the three main characters where the real excitement lies. Norwegian baritone Audun Iversen is nothing short of sensational as Onegin and not only does his singing take on a white hot intensity as the evening progresses but he manages to catch the character's insouciance which makes Onegin so objectionable from the start. His descent from buttoned-up prig to dishevelled obsessive is chartered unerringly realistically and his diction, given that he is not a native English speaker, is faultless." What's On Stage, November 2011
"Conductor Edward Gardner shows a firmer grasp of the opera's scale, and he has a strong cast to work with. The most convincing character is Onegin, his world-weary disdain embodied in Audun Iversen's clear, firm baritone and aloof stage presence." Evening Standard, November 2011
"Some Onegins can be so icily aloof in Act 1, and crushingly cruel in their rejection of Tatyana; Iversen's Onegin was more subtle than that, hardly priggish at all and seemingly honest when he told Tatyana he was neither ready for nor suited to marriage, though the way he kissed her here left things more ambiguously open than usual. His darksome voice registered strongly, and the Norwegian baritone (who sings Almaviva at Glyndebourne next summer) projected clear English. Opera magazine, December 2011