Duncan Rock

Introduction

Baritone Duncan Rock studied at the Guildhall School of Music and Drama and subsequently at the National Opera Studio.

Fast establishing himself as an outstanding young singer and performer he was a Jerwood Young Artist at the Glyndebourne Festival and the recipient of the 2010 John Christie Award.  He was also the winner of the 2012 Chilcott Award - the inaugural award from the Susan Chilcott Scholarship to support a ‘major young artist with the potential to make an international impact'.

His engagements in the 2016/17 season include the title role in Don Giovanni for Glyndebourne on Tour, Donald in a new production of Billy Budd for the Teatro Réal in Madrid and Il Conte in a new production of Le nozze di Figaro for Garsington Opera.

He has also sung the title role in Don Giovanni for the Boston Lyric Opera and the Welsh National Opera; Tarquinius The Rape of Lucretia for the Deutsche Oper, Berlin and at the Glyndebourne Festival; Papageno The Magic Flute for the English National Opera; Belcore L'elisir d'amore for Opera North; Marcello La bohème for the English National Opera and Opera North; Billy Bigelow Carousel for the Houston Grand Opera and the Théâtre du Châtelet and Marullo Rigoletto at Covent Garden.  Future seasons see him return to the Covent Garden, the Teatro Réal in Madrid and make his début at the Metropolitan Opera.

Highlights on the concert platform include the The Last Night of the Proms with the BBC Symphony Orchestra and Sakari Oramo, the London Symphony Orchestra with Sir Simon Rattle and Valery Gergiev, the Münchner Rundfunkorchester with Paul Daniel, the City of Birmingham Symphony Orchestra with Nicholas McGegan and the Orchestra of Madrid’s Teatro Réal with Ivor Bolton.

For an up-to-date biography, please contact Keiron Cooke

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News & Features

Repertoire

OPERA REPERTOIRE

ADAMS
The Death of Klinghoffer (Mamoud)

BIZET
Carmen (Escamillo)

BRITTEN
Billy Budd (Billy)
Death in Venice (English Clerk & Guide)
Gloriana (Mountjoy)
A Midsummer Night's Dream (Demetrius)
Owen Wingrave (Owen Wingrave)
The Rape of Lucretia (Tarquinius)

DONIZETTI
L'elisir d'amore (Belcore)

DOVE
Flight (Steward)

LEONCAVALLO
Pagliacci (Silvio)

MONTEVERDI
L’incoronazione di Poppea (Mercurio)

MOZART
Così fan tutte (Guglielmo)
Die Zauberflöte (Papageno)
Don Giovanni (Don Giovanni)
Le nozze di Figaro (Il Conte)

PUCCINI
La bohème (Marcello)
Manon Lescaut (Lescaut)

RODGERS
Carousel (Billy Bigelow)

STRAVINSKY
Oedipus Rex (Messenger)
The Rake's Progress (Nick Shadow)

SULLIVAN
The Gondoliers (Giuseppe)

VERDI
Rigoletto (Marullo)

CONCERT REPERTOIRE

BACH
St John Passion
St Matthew Passion

BEETHOVEN
Missa Solemnis
Symphony no. 9 

BRAHMS
Ein Deutsches Requiem

BRITTEN
War Requiem
Journey of the Magi (Canticle IV)

DURUFLE
Requiem

DVORAK
Te Deum

ELGAR
The Dream of Gerontius

FAURE
Requiem

HANDEL
Messiah

HAYDN
Die Schöpfung
Die Jahreszeiten

MOZART
Requiem

VAUGHAN WILLIAMS
A Sea Symphony

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Media Player

Video

  • BRITTEN
    An Introduction to A Midsummer Nights Dream 2016

Audio

Schedule

Garsington Opera, STOKENCHURCH

MOZART 'Le nozze di Figaro'

Conductor: Douglas Boyd
DIRECTOR: JOHN COX

Figaro: Joshua Bloom
Susanna: Jennifer France
COUNT: DUNCAN ROCK
COUNTESS: KIRSTEN MACKINNON
Cherubino: Marta Fontanals-Simmons
Bartolo: Stephen Richardson
Marcellina: Janis Kelly
BASILIO: TIMOTHY ROBINSON
Curzio: Alun Rhys-Jenkins

Garsington Opera, STOKENCHURCH

MOZART 'Le nozze di Figaro'

Conductor: Douglas Boyd
Director: JOHN COX

Figaro: Joshua Bloom
Susanna: Jennifer France
Count: DUNCAN ROCK
Countess: KIRSTEN MACKINNON
Cherubino: Marta Fontanals-Simmons
Bartolo: Stephen Richardson
Marcellina: Janis Kelly
Basilio: TIMOTHY ROBINSON
Curzio: Alun Rhys-Jenkins

Garsington Opera, STOKENCHURCH

MOZART 'Le nozze di Figaro'

Conductor: Douglas Boyd
Director: JOHN COX

Figaro: Joshua Bloom
Susanna: Jennifer France
Count: DUNCAN ROCK
Countess: KIRSTEN MACKINNON
Cherubino: Marta Fontanals-Simmons
Bartolo: Stephen Richardson
Marcellina: Janis Kelly
Basilio: TIMOTHY ROBINSON
Curzio: Alun Rhys-Jenkins

Garsington Opera, STOKENCHURCH

MOZART 'Le nozze di Figaro'

Conductor: Douglas Boyd
Director: JOHN COX

Figaro: Joshua Bloom
Susanna: Jennifer France
Count: DUNCAN ROCK
Countess: KIRSTEN MACKINNON
Cherubino: Marta Fontanals-Simmons
Bartolo: Stephen Richardson
Marcellina: Janis Kelly
Basilio: TIMOTHY ROBINSON
Curzio: Alun Rhys-Jenkins

Garsington Opera, STOKENCHURCH

MOZART 'Le nozze di Figaro'

Conductor: Douglas Boyd
Director: JOHN COX

Figaro: Joshua Bloom
Susanna: Jennifer France
Count: DUNCAN ROCK
Countess: KIRSTEN MACKINNON
Cherubino: Marta Fontanals-Simmons
Bartolo: Stephen Richardson
Marcellina: Janis Kelly
Basilio: TIMOTHY ROBINSON
Curzio: Alun Rhys-Jenkins

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Press

Britten

Billy Budd

Teatro Réal, Madrid

Duncan Rock was a perfect counterpoint to Billy, both vocally and physically, as Donald. Fernando Remiro, Bachtrack, 06 February 2017

Britten

The Rape of Lucretia

Opus Arte (DVD)

Duncan Rock's Tarquinius is handsomely and passionately sung; with his muscular frame, he looks the part. Christopher Ballantine, Opera, November 2016

Mozart

Don Giovanni

Glyndebourne on Tour

Duncan Rock, strolling around in a smart white dinner jacket, gave a commendable vocal performance as the dodgy don, oozing warmth and seduction with a honied baritone that, until the damnation scene, seemed happily unhurried, embodied in a fine “Deh, vieni alla finestra”, where he reined in the voice to a tender pianissimo, perfectly audible thanks to excellent projection. Dominic Lowe, Bachtrack, 17 October 2016
Duncan Rock's young, handsome Giovanni-a James Bond type in a white tuxedo...was and old-school, swashbuckling 'burlador de Sevilla', a charmer, certainly, but one whose bullying instincts easily surfaced...he delivered both of his famous solos - 'Finch' han dal vino' and the Serenade to Elvira's maid - with the requisite braggadocio for the former and appropriately sweet nothings for the later.  He should go far in the part. Hugh Canning, Opera, December 2016
The singers formed a strong, well-characterised cast, headed by Duncan Rock’s suave Don Giovanni – rather than a figure of vulgar self-assertion, the mellow tone of his singing told all the more in the character’s favour in numbers such as ‘Là ci darem la mano’ or the ‘Champagne’ aria to express the captivating power he might have over so many women. Curtis Rogers, Classical Source, 13 November 2016

Jonathan Dove

Our Revels now are Ended

BBC Symphony Orchestra/Sakari Oramo at The Last Night of the Proms

Other highlights [included] Baritone Duncan Rock’s measured delivery of Jonathan Dove’s valedictory Our revels now are ended. Nick Kimberley, Evening Standard, 12 September 2016

Britten

A Midsummer Night's Dream

Glyndebourne Festival Opera

Duncan Rock an impetuous Demetrius, polished into manhood by singing of tremendous evenness and gloss. Alexandra Coghlan, The Arts Desk, 12 August 2016
...the quartet of lovers– Kate Royal and Elizabeth DeShong as Helena and Hermia, Benjamin Hulett and Duncan Rock as Lysander and Demetrius – were a delight... Rupert Christiansen, The Telegraph, 12 August 2016
The four lovers – Duncan Rock (Demetrius), Elizabeth DeShong (Hermia), Benjamin Hulett (Lysander) and Kate Royal (Helena) – rise splendidly to the challenge of their roles, nowhere more so than in their exquisite quartet of reconciliation. Barry Millington, The Stage, 12 August 2016
Duncan Rock's firm baritone made for an heroic-sounding Demetrius. Mark Pullinger, Bachtrack, 12 August 2016
It was a pleasure to hear Demetrius sung with such cultivated poise by Duncan Rock. Peter Reed, Classical Source, 11 August 2016
Duncan Rock is another house favourite and his Demetrius was as well sung and convincingly acted as we’ve come to expect from him. Melanie Eskenazi, Music OHM, 14 August 2016
...Duncan Rock’s sterling Demetrius... Richard Fairman, The Financial Times, 14 August 2016
The lovers, Lysander (Benjamin Hulett), Hermia (Elisabeth DeShong), Helena (Kate Royal) and Demetrius (Duncan Rock) were also well cast. Anne Ozorio, Operatoday, 20 August 2016
The lovers are nicely defined, Benjamin Hulett’s easy-going Lysander contrasting with Duncan Rock’s impetuous Demetrius. Clare Colvin, Express, 24 August 2016
Duncan Rock brought a velvet-gloved punch (and exceptional diction) to Demetrius. Yehuda Shapiro, Opera, October 2016

Rodgers & Hammerstein

Carousel

Houston Grand Opera

Carnival bad boy Billy (baritone Duncan Rock, solid and rock-like)...Rock is commanding indeed. His famous “Soliloquy,” [which] is powerfully conveyed. D.L. Groover, Houston Press, 25 April 2016
Baritone Duncan Rock was a personable Billy Bigelow. He was impressive both for his singing and his acting in his romantic duet If I Loved You with Andrea Carroll’s Julie Jordan. He was stunningly effective in Billy’s Soliloquy, his long scene contemplating his imminent fatherhood. Opera Warhorses, 24 April 2016
...baritone Duncan Rock takes on the gruff role of Billy Bigelow with rakish good grace...his instrument is one of overall heft and surprising dexterity. Sydney Boyd, Houstonia, 25 April 2016

Donizetti

L'elisir d'amore

Opera North

Duncan Rock’s preening and elegantly sung Belcore avoids all possible boorishness and roughness of delivery. Ronald Simpson, Huddersfield Daily Examiner, 18 February 2016
[Adina's] macho pursuer, Captain Belcore was Duncan Rock who serviced the role with a fine baritone voice. Judging by other performances that I have seen it is a difficult role to pull off.  For example Belcore can be portrayed  as a  pompous buffoon. Duncan Rock added  a degree of Italian male seductive stylishness to the part that convinced. John Leeman, Seen and Heard, 18 February 2016
Duncan Rock’s macho Belcore and Fflur Wyn’s sparky Giannetta complete an agile cast. Martin Dreyer, The York Press, 19 February 2016
Equally, if not more, memorable is baritone Duncan Rock as swaggering Captain Belcore, who appears with his smirking crew in an immaculate white uniform, riding a Vespa through the tables and chairs. He is the type who might kick sand into the face of a lesser-muscled man, like Nemorino, but he has great comic style, as he flips open a little compartment in his scooter to produce a bunch of red roses for Adina, kicking it shut and proceeding to her table to claim her as his own. Duncan is most compelling, his rich chocolate baritone dominating as he sings “Come Paride vezzoso” (Just as the charming Paris…) in Act I. He also reveals considerable acting talents throughout. Richard Wilcocks, Bachtrack, 18 February 2016
Duncan Rock is splendidly self-involved as the vacuous officer Belcore. Alfred Hickling, The Guardian, 26 February 2016
Duncan Rock's macho Belcore, in cool shades and white uniform completed an agile cast. Martin Dreyer, Opera, April 2016

Puccini

La bohème

English National Opera

Duncan Rock hits the mark as a robust and sympathetic Marcello. Rupert Christiansen , The Telegraph, 17 October 2015
...it was largely because of Duncan Rock’s strapping, volatile, vocally large and open Marcello that the four guys made their presence felt. Rock was good at galvanising the Act Four duo with Rodolfo and excellent at shadowing the main relationship through his tortured enslavement to Rhian Lois’s Musetta. Peter Reed, Classical Source, 16 October 2015
Pick of the bohemian boys were the two baritones: Duncan Rock’s sympathetic, warmly sung Marcello... Mark Pullinger, Bachtrack, 17 October 2015
With his strong baritone, Duncan Rock is good value as Marcello. Sam Smith, Music OMH, 18 October 2015
Duncan Rock as Marcello gave [a] strong performance. Barry Millington, Evening Standard, 19 October 2015
Rock’s Marcello, his rough masculinity hiding deep vulnerability, is outstanding. Tim Ashley, The Guardian, 20 October 2015
Duncan Rock’s hard-drinking painter Marcello is outstanding. Clare Colvin, Express, 25 October 2015
As Marcello, Duncan Rock, looking startlingly like a beefed-up Prince Harry in pyjamas, gave the strongest performance of the evening. His large, rock-solid baritone and easy-going acting made him the most sympathetic character on show. Steve Silverman, Opera Britannia, 24 October 2015
Duncan Rock’s Marcello was the stand-out performance...Rock used his powerful baritone to make Marcello a three-dimensional character, at times petulant but with a genuine sense of fun; a young man who seemed ‘real’ and about whom we might care. Claire Seymour, Opera Today, 01 November 2015
Duncan Rock created a solidly positive impression, vocally as well as physically, as Marcello, his healthy, medium-weight lyric baritone placing him firmly to the fore of the vocal picture.

George Hall, Opera News, January 2016

Britten

The Rape of Lucretia

Glyndebourne Festival Opera

Duncan Rock’s Tarquinius, ‘Panther agile and panther virile’ as the Male Chorus says, was another ideal casting, singing with gloriously open tone and characterizing this difficult role without recourse to superfluous swagger. Melanie Eskenazi, Music OMH, 06 July 2015
Duncan Rock’s struttingly macho yet weirdly vulnerable Tarquinius. Rupert Christiansen, The Telegraph, 06 July 2015
Duncan Rock returns with robust, virile singing (and terrifyingly brawny physique to match) as the violator Tarquinius. Edward Bhesania, The Stage, 06 July 2015
The voices of Christine Rice, Catherine Wyn-Rogers, Louise Alder and Duncan Rock are hauntingly beautiful...the loutish Tarquinius – Duncan Rock, imposing both physically and vocally... David Karlin, Bachtrack, 06 July 2015
Duncan Rock’s forthright baritone conveys Tarquinius’s casual destructiveness, in vivid contrast to the caring nature of Collatinus... George Hall, The Guardian, 07 July 2015
The men in [Lucretia's] story become hugely dominating figures, Duncan Rock looming over her Schwarzenegger-like as Tarquinius... Richard Fairman, Financial Times, 07 July 2015
The singers are close to ideal and diction throughout the supercharged company is as exemplary as their singing and acting. Duncan Rock is Tarquinius to the life: dangerous, sexual, plausible and regal. Mark Valencia, What's on Stage, 14 July 2015
Duncan Rock a Tarquinius of Schwarzenegger-like physical strength. Richard Fairman, Opera, September 2015
Le Tarquinius de Duncan Rock est d’autant plus terrifiant que son physique est séduisant ; hautement testostéronée tant vocalement que physiquement, leur première scène en trio augure du drame à venir et Rock y imprime la rage de timbre d’un conquérant sans foi ni loi. Chantal Cazaux, L'Avant-Scène Opéra, 19 August 2015

Mozart

Don Giovanni

Boston Lyric Opera

From his fervently shaped 'Là ci darem la mano' to his exuberant 'Finch’han dal vino,' Rock’s Don Giovanni is a life force, comic, witty, intelligent, never mean-spirited. And his interplay with Kevin Burdette’s Leporello provides the production’s best moments. Burdette makes the most of his 'Madamina' catalogue aria, and he does a hilarious impersonation of his master. Jeffrey Gantz, Boston Globe, 03 May 2015
In his BLO debut, singer Rock made [Giovanni] vocally convincing, with a powerful, focused baritone brimming with masculine energy. David Wright, Boston Classical Review, 02 May 2015

Britten

The Rape of Lucretia

Deutsche Oper, Berlin

Tarquinius was the baritone Duncan Rock, whose athletic physique features significantly in this production. His voice is strong but smooth, rounded like a fine Lied interpreter but with unquestionable operatic power. His acting is wholly unified, with movements married perfectly to diction and vocal colour. Duncan Rock has everything you could want in an opera singer and more. Max Woods, Bachtrack, 17 November 2014
Duncan Rock, plötzlich gar nicht mehr männlich, singt mit hinreißender Intimität und Traurigkeit die schlafende Lucretia an und lässt wenigstens für einen Moment Herzen schmelzen. Lisa Jüttner, Musik Magazin, 24 November 2014
A veteran of last year's performances [Rock] was completely inside his role, which he sang and acted with frightening intensity.  Carlos Maria Solare, Opera, February 2015

Verdi

Rigoletto

Royal Opera House, Covent Garden

...exceptional work from Luis Gomes as Borsa, and Duncan Rock as a commanding Marullo. Mark Valencia, What's on Stage, 13 September 2014
...baritone Duncan Rock, a familiar ENO face, makes an efficient house debut as Marullo... David Gutman, The Stage, 15 September 2014
There are also strong contributions from Duncan Rock as Marullo and Luis Gomes as Borsa. Sam Smith, Music OMH, 16 September 2014
...Duncan Rock’s brutal Marullo... Tim Ashley, The Guardian, 16 September 2014
Only Duncan Rock's noticeable Marullo wears the cod-renaissance costumes with the kind of swagger the staging desperately needs.  He's a young singer eager to please.  This looked like and audition for Don Giovanni. Hugh Canning, Opera, December 2014

Puccini

La bohème

Opera North

...there’s excellent singing from Duncan Rock, both virile and sensitive as Marcello... Rupert Christiansen, The Telegraph, 06 May 2014
Duncan Rock (Marcello) was in warm vocal form and for my money one of the best characterisations. Robert Beale, Manchester Evening News, 15 May 2014
The Bohemian lads were notably spontaneous in their knockabouts, having seemingly devised some business on their own.  Duncan Rock's irrepressible Marcello was the prime mover... Martin Dreyer, Opera, July 2014

Britten

The Rape of Lucretia

Glyndebourne on Tour

[Fiona] Shaw draws magnificent performances from a mostly young cast. The men are just about ideal [including] Duncan Rock as the gym-buffed Tarquinius. Rupert Christiansen, The Telegraph, 21 October 2013
Duncan Rock's charismatic Tarquinius...  Rock undercuts Tarquinius's raffish allure with unnerving intimations of psychotic violence. Tim Ashley, The Guardian, 20 October, 2013
The singers are close to ideal, every one of them...it's an A-list ensemble of exceptional quality, and everyone's exemplary diction makes the surtitles quite unnecessary. Duncan Rock's military hunk of a Tarquinius looms dangerously over Claudia Huckle's vulnerable, shift-clad Lucretia... Mark Valencia, What's on Stage, 20 October 2013
[Fiona] Shaw's soldiers splendidly transcend the effeteness of their lines – Duncan Rock's Tarquinius, and David Soar's Collatinus are entirely believable as they banter in their bivouac. Michael Church, The Independent, 21 October 2013
Duncan Rock is a bold, rich-toned and physically beefy Tarquinius. Edward Bhesania, The Stage, 21 October 2013
Musically and physically Duncan Rock’s Tarquinius has an imposing muscularity.  Andrew Clark, Financial Times, 21 October 2013
Baritone Duncan Rock is superb as the brute Tarquinius, all menacing physique and rampant ambition. Stephen Pritchard, The Observer, 27 October 2013
All the singing is top quality, with strapping great voices from David Soar (Collatinus) and Duncan Rock, impressive as Tarquinius. Rosenna East, The Big Issue, 22 October 2013
Particular praise though, for David Soar's warm-voiced, poignant Collatinus [and] for Duncan Rock's brutal, physically imposing, vocally uncompromising Tarquinius. Roger Parker, Opera, December 2013
Duncan Rock gave us a very virile and brutish Tarquinius and he did an excellent job in depicting the military banter of the opening scene and in showing his descent from imposing general to loutish, sexual thug in the pivotal rape scene. Robert Beattie, Seen and Heard, 21 November 2013

Britten

Billy Budd

Glyndebourne Festival Opera

Duncan Rock gives us a taste of what to expect from his Tarquinius in the forthcoming Glyndebourne The Rape of Lucretia as Novice’s Friend.  Alexandra Coghlan, The Arts Desk, 11 August 2013
...below decks Duncan Rock stands out as the flogged Novice’s kind friend.  Rupert Christiansen, The Telegraph, 12 August 2012
Duncan Rock (a budding Billy) makes his mark as the Novice's Friend. Keith McDonnell, What's on Stage, 12 August 2013

Puccini

La bohème

English National Opera

Duncan Rock's charismatic Schaunard goes to pieces as Mimì dies. Tim Ashley, The Guardian, 30 April 2013
Duncan Rock is a strong and assertive Schaunard. Richard Fairman, The Financial Times, 30 April 2012
Duncan Rock rounds out the young artists as a dynamic Schaunard. Alexandra Coghlan,The Arts Desk, 30 April 2013
Duncan Rock once again proves that he is the most exciting young baritone on the company’s roster with his faultless portrayal of Schaunard. Keith McDonnell, What's on Stage, 01 May 2013

Rodgers & Hammerstein

Carousel

Théâtre du Châtelet

Formidable Billy beau gosse de Duncan Rock, bartyon de grande venue. Jean-Charles Hoffelé, Concert Classic, 20 March 2013

Britten

Billy Budd

English National Opera

...the charisma of Duncan Rock's Donald, whose striking performance looked like an audition for the title role... Hugh Canning, The Sunday Times, 24 June 2012
Duncan Rock's noticable Donald. Rodney Milnes, Opera, August 2012
Some younger singers stood out among a fine supporting cast: Duncan Rock as a virile Donald. Rupert Christiansen, The Telegraph, 19 June 2012
Bright young stars emerge from the ensemble - Duncan Rock’s wonderfully virile and 'present' Donald. Edward Seckerson, The Independent, 19 June 2012
Duncan Rock is a spirited and effective Donald. Sam Smith, Londonist, 20 June 2012
The physically and vocally imposing Duncan Rock as Donald, who gives the most rounded performance of the evening. Here is a singer to watch as not only is he a striking stage presence, but he possesses a wonderfully rich baritone voice, that is plainly destined for greatness. Keith McDonnell, What's On Stage, 19 June 2012
We get an unexpected glimpse of how the role [Billy] should go in terms of singing and acting when the baritone singing Donald – Duncan Rock – launches into the 'We’re off to Samoa' chorus. Suddenly, Billy Budd was there before us to the life, bluff, rich voiced, even and fully rounded, person handsome, imposing and strikingly charismatic, the exact sort of insouciantly alluring character to whom the other sailors and Vere himself would all fall willing victim. Stephen Jay-Taylor, Opera Britannia, 20 July 2012

Mozart

Die Zauberflöte

English National Opera

Duncan Rock is the tall, personable Papageno, a classy singer and a real charmer. Andrew Clark, Financial Times, 16 September 2012
There’s little to fault in the up-and-coming Rock, just announced as the winner of the first Chilcott Award for young singers, and a baritone possessed of much honeyed tone and stage charisma. This is neither the goofiest nor the most tragic Papageno, but it is one of the most honest and amiable, and the Aussie singer does a good impression of a cheeky larrikin, too. Neil Fisher, The Times, 17 September 2012
There’s little to fault in the up-and-coming Rock, just announced as the winner of the first Chilcott Award for young singers, and a baritone possessed of much honeyed tone and stage charisma. This is neither the goofiest nor the most tragic Papageno, but it is one of the most honest and amiable, and the Aussie singer does a good impression of a cheeky larrikin, too. Neil Fisher, The Times, 17 September 2012
Crucial to the success of any Flute is the role librettist Emanuel Schikaneder originally designed to showcase his own talents – that of the bird-catcher, Papageno. Duncan Rock seems a natural for the part, his antipodean ebullience enabling him to connect ever more confidently with the audience throughout the evening. George Hall, The Guardian, 14 September 2012
ENO should congratulate itself on having secured 28-year-old baritone Duncan Rock as Papageno, who this week won the first £10,000 Chilcott award for young British opera singers.  Papageno seemed a bit alarmed when, after asking for a bride to save him from a lonely death, a woman in the second row stalls volunteered her services. It's an idea that might catch on. Fiona Maddocks, The Observer, 16 September 2012
Duncan Rock’s hugely promising Papageno. David Mellor, Daily Mail, 24 September 2012
Duncan Rock’s world-class Papageno...was full of rugged charm and charisma. Jim Pritchard, Scene and Heard, 16 September 2012
The best singing comes from Australians. Duncan Rock showcases his distinctive vocal timbre in a broad treatment that has him referring to Papagena as a ‘sheila’. David Gutman, The Stage, 14 September 2012
Musically, this revival has a good solid cast but for me the two standout performances came from Duncan Rock’s scene-stealing Papageno and Kathryn Lewek’s stratospheric Queen of the Night. Rock is one of the ENO Harewood Artists and winner of the inaugural 2012 Chilcott Award, definitely one to keep an eye on in future. This young Australian baritone boasts a warm and attractive timbre which is beautifully smooth and even across the registers with excellent diction to boot. He has a very natural and easy-going stage presence which makes him instantly likeable, together with a flair for comedy – helped by the added ‘Australianisms’ in his updated spoken dialogue. His 'Ein Mädchen oder Weibchen' was delightful and he even managed to inspire a lady in the stalls to volunteer to marry him during the attempted suicide scene (which certainly wasn’t in the script, but which he handled with aplomb). In some ways he reminded me of a young Keenlyside and I hope I’ll get the chance to hear his Don Giovanni at some point. Faye Courtney, Opera Britannia, 25 September 2012
Duncan Rock’s portrayal of Papageno, including his subtle communication with the audience throughout (as surely envisaged by Schikaneder, the opera’s librettist and first Papageno), was fully credible. So much so, that it was no surprise to witness a lady in the audience offering to come to the rescue when Papageno considers hanging himself. It is a credit to Rock that he handled this incident skilfully (and acknowledged it gracefully at the curtain calls). Rock’s musical interpretation is full of tonal nuances and serves Mozart’s harmonies superbly. Agnes Kory, Musical Criticism, 18 September 2012
Duncan Rock lends refinement as a beautifully-sung Papageno, less knockabout clown than baritone hunk bursting through the feathers, in a performance that suggests future greatness as Mozart’s wicked Don (a role he’s already played to acclaim). Simon Thomas, What's on Stage, 14 December 2012
Rock plays his part to the full, clearly enjoying, and expanding upon, the slapstick and fickle elements to his role. Rachel Phillips, Londonist, 18 September 2012

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Recordings

Britten: The Rape of Lucretia

Lucretia: Christine Rice
Male Chorus: Allan Clayton
Female Chorus: Kate Royal
Tarquinius: Duncan Rock
Collatinus: Matthew Rose
Junius: Michael Sumuel
Bianca: Catherine Wyn-Rogers
Lucia: Louise Alder

Director: Fiona Shaw
London Philharmonic Orchestra/Leo Hussain

Recorded live at the 2015 Glyndebourne Festival

Opus Arte (DVD)

Stravinsky: The Rake's Progress

Anne Trulove: Miah Persson
Tom Rakewell: Topi Lehtipuu
Father Trulove: Clive Bayley
Nick Shadow: Matthew Rose
Mother Goose: Susan Gorton
Baba the Turk: Elena Manistina
Sellem: Graham Clark
Keeper of the Madhouse: Duncan Rock

Director: John Cox
London Philharmonic Orchestra/Vladimir Jurowski

Recorded live at the 2010 Glyndebourne Festival

Opus Arte (DVD)