David Soar

Introduction

David Soar was born in Nottinghamshire and studied at the Royal Academy of Music and the National Opera Studio.

Highlights in his 2014/15 season include Pistola in a new production of Falstaff at the Saito Kinen Festival, a return to the Glyndebourne Festival for Zuniga Carmen and a return to the Metropolitan Opera as Colline La bohème.

He has also sung Masetto Don Giovanni (Metropolitan Opera); Le Duc Roméo et Juliette (Salzburg Festival); Quinault Adriana Lecouvreur (Covent Garden); Masetto, Mr Flint Billy Budd and Collatinus The Rape of Lucretia (Glyndebourne); Basilio The Barber of Seville, Roy Disney The Perfect American and Bernardino Benvenuto Cellini (English National Opera) and Leporello Don Giovanni, Figaro Le nozze di Figaro, Escamillo Carmen and Sparafucile Rigoletto Welsh National (Opera).

Highlights on the concert platform include The Dream of Gerontius (BBC Symphony Orchestra/Sir Andrew Davis), Messiah (The English Concert/Harry Bicket, Academy of Ancient Music/Richard Egarr & Britten Sinfonia/David Hill), Stravinsky motets (Collegium Vocale/Philippe Herreweghe), Weill's The Seven Deadly Sins (Hallé Orchestra/Sir Mark Elder), Belshazzar’s Feast (BBC Philharmonic Orchestra/John Storgards), The Midsummer Marriage at the BBC Proms (BBC Symphony Orchestra/Sir Andrew Davis), Wozzeck (LPO/Esa-Pekka Salonen), Masetto Don Giovanni (SCO/Robin Ticciati) and Beethoven's Symphony no. 9 (Sir Charles Mackerras).

Read More >

News & Features

Repertoire

CONCERT REPERTOIRE

BACH  
Mass in B Minor
Johannes-Passion
Matthäus Passion
Weihnachts-Oratorium
Ich habe genug

BEETHOVEN
Symphony no. 9
Missa Solemnis

BRAHMS
Ein Deutsches Requiem

DVORAK
Te Deum

ELGAR
The Dream of Gerontius
The Apostles (Judas)

HANDEL
Messiah

HAYDN
Die Schöpfung

MAHLER
Symphony no. 8

MENDELSSOHN
Elijah

MOZART
Requiem

ROSSINI
Petite Messe Solennelle
Stabat Mater

SCHOENBERG
A Survivor from Warsaw
Ode to Napoleon

STANFORD
Songs of the Fleet

VERDI
Requiem

WALTON
Belshazzar's Feast

OPERA REPERTOIRE

BERG
Wozzeck (1st Workman/Doctor)

BIZET
Carmen (Escamillo)

BRITTEN
Billy Budd (Mr Flint)
The Rape of Lucretia (Collatinus)

DONIZETTI
Lucrezia Borgia (Alfonso)

MOZART
La clemenza di Tito (Publio)
Don Giovanni (Leporello/Masetto)
Le nozze di Figaro (Figaro)
Die Zauberflöte (Sarastro)

PONCHIELLI
La Gioconda (Alvise Badoero)

PUCCINI
La bohème (Colline)
Madam Butterfly (Bonze)

PURCELL
The Fairy Queen (Hymen/Sleep/Coridon/Winter )

ROSSINI
Il barbiere di Siviglia (Don Basilio)

ROSSINI
La Cenerentola (Alidoro)

TCHAIKOVSKY
Eugene Onegin (Zaretsky)

TIPPETT
The Midsummer Marriage (He-Ancient)

VERDI
Don Carlo (Monk)
La traviata (Grenvil)
Il Trovatore (Ferrando)
Macbeth (Banco)
Aida (Il Re)

WAGNER
Die Meistersinger von Nürnberg (Nightwatchman)
Tristan und Isolde (Marke)

KURT WEILL
Seven Deadly Sins

Read More >

Media Player

Video

  • HANDEL
    Handel's Messiah

Schedule

Load More

Press

Puccini

La bohème

Metropolitan Opera, New York

Colline was sung very well by David Soar, whose aria 'Vecchia zimarra senti' brought tears to the eyes. David Browning, Bachtrack, 25 September 2014
...the bass David Soar a confident Colline, mellow and unpretentious in his fourth-act aria, 'Vecchia zimarra.' Zachary Woolfe, New York Times, 25 September 2014

Verdi

Stiffelio

Chelsea Opera Group at the Queen Elizabeth Hall

David Soar displayed a pure beautiful bass of remarkable quality, and he made much of the words. Andrew Porter, Opera, August 2014

Elgar

The Dream of Gerontius

BBC Symphony Orchestra/Sir Andrew Davis

David Soar as an implacable, dark-sounding Priest and Angel of the Agony, and Sarah Connolly as a consummately polished Angel completed the outstanding set of soloists.  Andrew Clements, The Guardian, 08 April 2014
David Soar’s Priest had just the right smooth, blackish tone and hieratic presence... John Allison, The Telegraph, 07 April 2014
David Soar completed the sense of definition and connection with his focused, consistently even solos as Priest and Angel of the Agony, both thrillingly sung and succinctly dramatic. Peter Reed, Classical Source, 06 April 2014

Britten

The Rape of Lucretia

Glyndebourne on Tour

David Soar’s Collatinus [was] almost too beautifully sung to chime with Britten’s ambivalent portrayal. Alexandra Coghlan, The New Statesman, 21 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
[Fiona Shaw] depicts Collatinus as an oblivious cuckold yet David Soar makes him three-dimensional and dignified. Mark Valencia, What's on Stage, 20 October 2013
David Soar’s rock-solid Collatinus. David Nice, The Art's Desk, 20 October 2013
[Fiona] Shaw draws magnificent performances from a mostly young cast. The men are just about ideal: Duncan Rock as the gym-buffed Tarquinius, David Soar as the decent Collatinus. Rupert Christiansen, The Telegraph, 21 October 2013
Collatinus [is] the sinuous bass David Soar. 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

Rossini

The Barber of Seville

English National Opera

For me, the best of the supporting singers was David Soar as the hypocritical Don Basilio, who only gets one big aria (his entrance aria, a paean to the power of calumny) and sang it with power, flexibility and comic relish.

David Karlin, Bachtrack, 26 February 2013

The evening's finest performances come from David Soar as Basilio, who never puts a comic foot wrong and makes a real highlight of his slander aria, and from Andrew Shore, returning to his familiar role of Dr Bartolo.

George Hall, The Guardian, 27 February 2013

Mozart

Don Giovanni

Metropolitan Opera, New York

David Soar made an impressive Met debut as Masetto, his voice attractive and even in all registers and his enunciation excellent.
Classical Review, December 2012

Purcell

The Fairy Queen

Glyndebourne Festival Opera

David Soar’s delivery of Winter’s aria has magnificent resonance.
The Independent, July 2012
Among the singers, David Soar’s bass is a properly chilling Winter and a Merlin-like figure whose Hush, no more conjures resonant and dark silences. The Times, July 2012

Mozart

Le nozze di Figaro

Welsh National Opera

The Figaro of this production is David Soar, and he returns to the role with complete assuredness, panache and captivating physicality. He leaps, pirouettes, postures and limps when required, with conviction, bravado and humour. His Italian has a sparkling command and Soar’s rich vocal reserves ensure that he can create a gamut of emotions within well managed Mozartian phrasing. This is a role he deserves to perform frequently and at important houses, as he has an intelligent sense of Figaro’s public and private character, his frustrations and his sense of worth within the class system of the time. Soar’s Figaro hints at the Beaumarchais ideology, but always with beauty of tone and musicality. This is an accomplished, exciting portrayal.
Opera Brittania, March 2012

Mozart

Don Giovanni

Welsh National Opera

...despite the dark undertones of rape and murder, WNO have excelled in bringing the comic energy of this popular two-act drama to life without descending into pantomime farce. David Soar can take much of the credit for this, playing the charmingly convincing Leporello, Giovanni’s hard-done-by servant.
The Stage, September 2011
It was therefore something of a relief to encounter Welsh National Opera’s handsomely designed, no-nonsense traditional new staging in Cardiff, which is well worth seeing for the two brilliant stand-out performances from David Soar and Camilla Roberts alone.
Opera Britannia, September 2011
David Soar was a fine Leporello, the partnership wholly plausible, Leporello’s confusions and economic needs were equally well articulated. The dialogue between Leporello and his master was, musically and dramatically, an example of what management science calls best practice. It isn’t hard to imagine Soar himself as a top class Don Giovanni in due course.
Seen and Heard Opera Review, September 2011
David Soar is excellent in the buffo role of Giovanni’s servant Leporello.
Coventry Telegraph, November 2011

Recordings

Cilea: Adriana Lecouvreur

Angela Gheorghiu (Adriana)
Jonas Kaufmann (Maurizio)
Olga Borodina (La principessa di Bouillon)
Alessandro Corbelli (Michonnet)
David Soar (Quinault)
Iain Paton (Poisson
Janis Kelly (Mademoiselle Jouvenot)
Sarah Castle (Mademoiselle Dangeville)
Maurizio Muraro (Principe di Bouillon)
Bonaventura Bottone (Abbé de Chazeuil)

Orchestra of the Royal Opera House / Sir Mark Elder

David McVicar's production filmed at the Royal Opera House, Covent Garden

Decca