David Soar


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 Storgårds), The Midsummer Marriage at the BBC Proms (BBC Symphony Orchestra/Sir Andrew Davis), Wozzeck (Philharmonia/Esa-Pekka Salonen), Masetto Don Giovanni (SCO/Robin Ticciati) and Beethoven's Symphony no. 9 (Sir Charles Mackerras).

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Mass in B Minor
Matthäus Passion
Ich habe genug

Symphony no. 9
Missa Solemnis

Ein Deutsches Requiem

Te Deum

The Dream of Gerontius
The Apostles (Judas)


Die Schöpfung

Symphony no. 8



Petite Messe Solennelle
Stabat Mater

A Survivor from Warsaw
Ode to Napoleon

Songs of the Fleet


Belshazzar's Feast


Wozzeck (1st Workman/Doctor)

Carmen (Escamillo)

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

Lucrezia Borgia (Alfonso)

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

La Gioconda (Alvise Badoero)

La bohème (Colline)
Madam Butterfly (Bonze)

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

Il barbiere di Siviglia (Don Basilio)

La Cenerentola (Alidoro)

Eugene Onegin (Zaretsky)

The Midsummer Marriage (He-Ancient)

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

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

Seven Deadly Sins

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Belshazzar’s Feast

BBC Philharmonic Orchestra/John Storgårds

...soloist David Soar revealed a dark, resonant timbre that possessed an alarming menace. At times Soar’s voice reminded me of Benjamin Luxon... Michael Cookson, Seen and Heard, 12 November 2014


The Dream of Gerontius

BBC Symphony Orchestra/Sir Andrew Davis (Chandos CD, 2014)

David Soar's Priest is commanding in Proficiscere, anima Christiania. Hugh Canning, Sunday Times, 19 October 2014
The Priest and the Angel of the Agony have occasionally been assigned to different singers in performances of The Dream of Gerontius, but tradition has mostly followed the example of the Birmingham première. In this recording, both parts are sung by Nottinghamshire-born bass David Soar, who débuted at the Metropolitan Opera as Masetto in Don Giovanni and returned to New York in September 2014 to sing Colline in La bohème. As the Priest in Part One of The Dream of Gerontius, Mr. Soar’s sonorous singing of ‘Proficiscere, anima Christiana, de hoc mundo’ is keenly reflective, his enunciation of the Latin text sensitive but pointed. The Angel of the Agony’s ‘Jesu! by that shuddering dread which fell on Thee’ in Part Two draws from Mr. Soar robustly muscular singing. Mr. Soar’s tonal production is smoother than John Shirley-Quirk’s, and his timbre is lighter than Gwynne Howell’s, but his singing in this performance combines aspects of the former’s incisive utilization of text and uncompromising solemnity of declamation with the latter’s vocal opulence. He is memorable as both the Priest and the Angel of the Agony, brief as their interjections are, but even his dramatic persuasiveness is secondary to the attractiveness of his singing.
Joseph Newsome, Voix des Arts, 27 October 2014
David Soar, too, sings with lofty projection and unstinting eloquence (his Angel of the Agony is an especially pleasing achievement). Andrew Achenbach, Gramophone, November 2015
Bass David Soar is unwaveringly authoritative as both Priest and Angel of the Agony, making a stirring compassionate contribution.  In 'Proficiscere, anima Christiana' he manages to avoid pomposity while enlivening the sound, an effect sustained and intensified when the choir joins in force at 'Go, in the name of Angels'.  This Gerontius is a wonderful achievement, a deeply considered interpretation whose convincing spirituality never seems stuffy or over-reverential.  It takes an honoured place among the finest-ever versions of this much-recorded masterpiece, and would unquestionably be my preferred digital version. Terry Blain, BBC Music Mazagine, December 2014 (Recording of the Month)
The composer favoured a real bass over a baritone and David Soar would surely have been his ideal choice.  Intelligent singing allows him to express the Angel of the Agony's dubious sentiments very convincingly, and the beauty of the voice is a real asset both there and as the Priest at the end of Part 1.  (I'd be happy enough to be carried off into oblivion by singing such as this.) William Hedley, International Record Review, November 2014


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



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


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


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


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


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


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


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


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



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


Hidden Treasure

A Recital by David Soar

Featuring songs by Armstrong Gibbs, Schubert, Mozart, Purcell and Keel

James Southall, piano