James Platt

Introduction

British bass James Platt was educated at Chetham’s School of Music studied at the Royal Academy of Music and on the Opera Course of the Guildhall School of Music and Drama.

A member of the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden from 2014-2016, his roles in the house included Gremin Eugene Onegin, Caronte Orfeo, Dr Grenvil La traviata, Frontier Guard Boris Godunov and Blansac in Rossini’s La scala di seta.  He made his debut with the Welsh National Opera as High priest of Baal Nabucco and, as a Jerwood Young Artist at the Glyndebourne Festival, he sang the role of Notary Don Pasquale

The 2016/17 season sees him make debuts with Scottish Opera, La Scala, Milan and with the Dutch National Opera and his concert engagements include Giove in Cavali's La Calisto with La Nuova Musica/David Bates, Messiah with the Hallé Orchestra/Christian Curnyn, Verdi's Requiem with the Orchestre National de Lyon/Leonard Slatkin and Dvorak’s Requiem with the BBC Symphony Orchestra/Jiri Belohlavek.

Other appearances have included Polyphemus Acis & Galatea with La Nuova Musica/David Bates, Beethoven’s Symphony no. 9 with the RPO/Christopher Warren-Green and Rossini’s Petite Messe Solennelle with the BBC Singers/David Hill and Nino's Ghost in Rossini's Semiramide with the OAE/Sir Mark Elder both at the BBC Proms.

He was both a finalist in the GSMD’s Gold Medal Competition and was awarded the Silver Medal from the Worshipful Company of Musicians.  He has also been the recipient of a Richard Van Allen Award and an Independent Opera Scholarship.

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News & Features

Repertoire

CONCERT REPERTOIRE

BACH
Ich habe genug (Cantata no. 82)
Johannes-Passion
Magnificat
Matthäus Passion
Mass in B Minor
Weihnachts-Oratorium

BEETHOVEN
Mass in C
Missa Solemnis
Symphony no. 9

BRAHMS
Ein Deutches Requiem

BUTTERWORTH
A Shropshire Lad

CHARPENTIER
Te Deum

DELIUS
Mass of Life
Sea Drift

DVORAK
Te Deum
Requiem

DYSON
Sweet Thames Run Softly

ELGAR
Coronation Ode
The Dream of Gerontius
The Apostles
The Kingdom
Starlight Express
Light of Life

FAURE
Requiem

FINZI
Let Us Garlands Bring

MAUNDER
Olivet to Calvary

HANDEL
Messiah
Judas Maccabeus
Samson

HAYDN
Maria Theresa Mass
Missa Cellenis
Paukenmesse
Stabat Mater
Die Schöpfung
Die Jahreszeiten

MAHLER
Das Knaben Wunderhorn
Kindertotenlieder
Ruckertlieder
Symphony no. 8

MENDELSSOHN
Elijah
Paulus
Psalm 115

MONTEVERDI
Verspers 1610
Magnificat

MOZART
Mass in C Minor
Coronation Mass
Mass in F
Requiem
Solemn Vespers

MUSSORGSKY
Songs and Dances of Death

PERGOLESI
Magnificat

PUCCINI
Messa di Gloria

PURCELL
Te Deum
Jubilate
Come ye Sons of Art
Welcome all the pleasures

ROSSINI
Pettite Messe Solennelle
Stabat Mater

SCHUBERT
All Masses
Magnificat
Psalm 92
Tantum Ergo in E flat

STAINER
Cruxification

STANFORD
Songs of the Fleet

TIPPET
A Child of our Time

VAUGHAN WILLIAMS
Songs of Travel
Hodie
Five Mystical Songs
Fantasia on Christmas Carols
Mass in G Minor
Sancta Civitas
Sea Symphony
Serenade to Music

VERDI
Requiem

STRAVINSKY
Oedipus Rex

WALTON
Belshazzar’s Feast

OPERA REPERTOIRE

BRITTEN
Billy Budd (Mr Flint)
Peter Grimes (Hobson)
A Midsummer Nights Dream (Bottom)
The Rape of Lucretia (Collatinus)

BIZET
Carmen (Zuniga)

DOVE
Flight (Immigration Officer)

HANDEL
Acis and Galatea (Polyphemus)
Giulio Cesare (Achilla)
Semele (Somnus/Cadmus)

MONTEVERDI
Orfeo (Caronte)

MOZART
Le nozze di Figaro (Figaro/Antonio/Bartolo)
Don Giovanni (Leporello/Commandatore/Masetto)
Die Zauberflöte (Sarastro/Sprecher)

PUCCINI
La bohème (Colline)
Madama Butterfly (Bonze)

ROSSINI
La scala di seta (Blansac)

STRAVINSKY
The Rake’s Progress (Nick Shadow)

SZYMANOWSKI
Król Roger (Bishop)

WAGNER
Die Meistersinger von Nürnberg (Night Watchman)

VERDI
La traviata (Dr Grenvil)
Un ballo in maschera (Tom)

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Media Player

Audio

Schedule

Royal Albert Hall, LONDON

ROSSINI 'Semiramide'

Conductor: Sir Mark Elder

Semiramide: Albina Shagimuratova
Arsace: Daniela Barcellona
Assue: Ildebrando d'Arcangelo
Idreno: Javier Camarena
Oroe: Gianluca Buratto
Azema: Susana Gaspar
Mitrane: David Butt Philip
NINO'S GHOST: JAMES PLATT

Orchestra of the Age of Enlightenment

Wigmore Hall, LONDON

CAVALLI 'La Calisto'

Conductor: David Bates

CALISTO: LUCY CROWE
GIOVE: JAMES PLATT
Diana: Pamela Helen Stephen
Endomione: Tim Mead
Giunone: Rachel Kelly
Mercurio: Jonathan McGovern
Linfea: Andrew Tortise
Pane: Sam Furness
Satirino: Jake Arditti
Sylvano: Edward Grint

La Nuova Musica

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Press

Tchaikovsky

Jette Parker Young Artists

Royal Opera House, Covent Garden

James Platt handled Gremin's aria with authority and generosity while exuding a discreet air of 'Hands off, she's mine'. Yehuda Shapiro, Opera, September 2016

Verdi & Berlioz

Jette Parker Young Artists

Royal Opera House, Covent Garden

James Platt, the full-voiced Fiesco, brought a rolling legato to his blessing of his future son-in-law [and] returned as a persuasive Frère Laurent. Yehuda Shapiro, Opera, September 2015
James Platt (the only British singer we heard) with his voice of imposing authority seems born to play aged – probably often bearded – characters such as Fiesco and later Gounod’s Frère Laurent. Jim Pritchard, Seen and Heard, 20 July 2015

Verdi

La traviata

Royal Opera House, Covent Garden

As usual for Covent Garden, smaller roles were well taken...James Platt a suavely voiced Doctor Grenvil John E. de Wald, Opera Britannia, 20 May 2015
From among the more minor roles...James Platt as Doctor Grenvil stands out. Sam Smith, Music OMH, 20 May 2015
James Platt’s Doctor gave nuanced and thoroughly committed performances. Jim Pritchard, Scene and Heard, 20 May 2015

Monteverdi

Orfeo

Royal Opera House, Covent Garden at The Roundhouse

...James Platt [is] admirable as Charon... Barry Millington, Evening Standard, 14 January 2014
...the authoritative Charon of James Platt... David Nice, The Arts Desk, 14 January 2014
James Platt sings an impressive Charon Laura Battle, Financial Times, 14 January 2014
James Platt’s commanding Charon Melanie, Eskenazi, Music OHM, 14 January 2014
James Platt’s strong Charon George Hall, The Stage, 14 January
James Platt and Susan Bickley both showed smooth voices with a bit of extra strength and depth, Platt as the implacable boatman Charon... David Karlin, Bachtrack, 14 January 2014
...musically the strongest support comes from the trio of pastors...and James Platt’s powerfully characterised Charon. Alexandra Coghlan, The Spectator, 17 January 2014
James Platt formidable as Charon Fiona Maddock, The Guardian, 18 January 2015
I was particularly impressed by the wonderful true bass of James Platt as Charon. I hope to hear more of his glorious liquorice tones before too long. Miranda Jackson, Opera Briannia, 17 January 2015
As Charon, James Platt uses his strong bass-baritone to suggest Charon’s menacing obduracy. Claire Seymore, Opera Today, 16 January 2015
Bass James Platt as Hell’s guardian Charon looks like the sort of club bouncer with whom you wouldn’t argue. Clare Colvin, Express, 18 January 2015
James Platt sang the deep sounds of Charon with imposing authority. Stephen Petitt, Opera, March 2015

Handel

Messiah

Early Opera Company at Wigmore Hall

Bass James Platt has a strikingly resonant tone which equipped him well for ‘Why do the nations…?’ and ‘The trumpet shall sound’... John-Pierre Joyce, Music OMH, 24 December 2014
James Platt’s powerful bass combines aspects of Wotan and Charlton Heston, and Platt applied it to Part 1 in all its blackness, so that the shaft of light let in by ‘For unto us’ made maximum impact. That darkness also went on to gather layers of meaning in a magnificent ‘The trumpet shall sound'. Peter Reed, Classical Source, 23 December 2014

Rossini

La scala di seta

Royal Opera House, Covent Garden

...the larger-than-life bass James Platt as [the soprano's] foppish foil. Michael Church, The Independent, 27 October 2014
British bass James Platt was strong in the role [of Blansac]. Simon Thomas, What's on Stage, 24 October 2014
James Platt (Blansac), pink-cheeked with foppish wig, might have been playing buffo roles for a lifetime. Fiona Maddocks, The Observer, 26 October 2014
It was James Platt as Blansac who showed the most promise and here was a periwigged and powdered fop with a resonant voice that sounds as if it might easily encompass buffo roles as well as something more substantial in the future. Jim Pritchard, Scene and Heard, October 2014
Platt brought a clear and precise tone to his part and a gentle lyricism to his off-stage calls during the finale, as he called to Giulia from outside her balcony. Dressed in garish pink and with rouged cheeks he was very much the dandy but looked genuinely and genially amused at the number of people who end up in Giulia’s apartment, a ‘randevu in duecento’ indeed. Llyr Carvana, Opera Britannia, 26 October 2014
James Platt is simply a class act as Blansac. Sam Smith, Music OHM, 25 October 2014
James Platt (Blansac) sang with full, rich tone and displayed nimble agility through Rossini’s patter. Mark Pullinger, Bachtrack, 24 October 2014
James Platt brought a satisfyingly mature and rounded bass to Blansac. Yehuda Shapiro, Opera, January 2015

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Recordings

Donizetti: Don Pasquale

Alessandro Corbelli (Don Pasquale)
Danielle de Niese (Norina)
Nikolay Borchev (Malatesta)
Alex Shrader (Ernesto)
James Platt (Notary)

London Philharmonic Orchestra / Enrique Mazzola

Mariame Clément's production from the 2013 Glyndebourne Festival

Opus Arte