Matthew Rose

Introduction

This season Matthew Rose sings Bottom at the Metropolitan Opera, New York; Leporello at the Deutsche Oper in Berlin; and Enrico (Anna Bolena) for the Opéra de Bordeaux.  Future engagements include his return to Covent Garden, the Glyndebourne Festival and the Metropolitan Opera, and his debut at the Lyric Opera of Chicago.

He has appeared in concert at the Edinburgh Festival, the BBC Proms, and the Mostly Mozart Festival in New York; recent engagements have included the London Symphony Orchestra with Sir Colin Davis; the Los Angeles Philharmonic with Dudamel; the Swedish Radio Orchestra with Harding; the BBC Symphony Orchestra with Sir Andrew Davis; and the Accademia Nazionale di Santa Cecilia with Pappano.

Recital performances include the Wigmore Hall, the Concertgebouw in Amsterdam, and the Brighton, Edinburgh, Chester and Cheltenham International Festivals.

Matthew's critically acclaimed recording of Winterreise has recently been released on the Stone Records label.

For an up-to-date biography, please contact Mary Donald

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News & Features

Repertoire

BACH
Ich habe genug (Cantata No. 82)
Mass in B Minor
St Matthew Passion - Chistus
St John Passion - Christus 

BEETHOVEN
Mass in C  
Missa Solemnis
Symphony No. 9

BELLINI
Norma -  Oroveso

BERLIOZ
L'enfance du Christ - Herod
Roméo et Juliette - Frère Laurent

BRITTEN
Billy Budd - Claggart
Curlew River - Abbott 
A Midsummer Night's Dream - Bottom 
Noye's Fludde - Noye 
Peter Grimes - Swallow 
The Rape of Lucretia - Collatinus

BRUCKNER
Mass in F Minor

DONIZETTI
Anna Bolena - Henry VIII
Lucia di Lammermoor - Raimondo
Maria Stuarda - Talbot
Poliuto - Caliestene 

DVORAK
Requiem

ELGAR
The Dream of Gerontius

HANDEL
Acis and Galatea - Polyphemus 
Athalia - Abner 
Hercules - Hercules
Messiah  
Theodora - Valens

HAYDN
The Creation 
The Seasons 
Nelson Mass

JANACEK
The Cunning Little Vixen - Haraschta
Glagolitic Mass

MENDELSSOHN
Elijah - Elijah

MONTEVERDI
L'incoronazione di Poppea - Seneca

MOZART
La clemenza di Tito - Publio
Don Giovanni - Leporello
Die Entführung aus dem Serail - Osmin
Le nozze di Figaro - Figaro
Requiem
Die Zauberflöte - Sarastro 

MUSSORGSKY
Songs and Dances of Death

PUCCINI
La bohème - Colline
Turandot - Timur 

RAVEL
L'Enfant et les sortileges - Le Fauteuil / Un Arbre

ROSSINI
Il Barbiere di Siviglia - Don Basilio
Guillaume Tell - Walter
Stabat Mater
Il Viaggio a Reims - Lord Sidney

SHOSTAKOVICH
Symphony No. 14

SCHUBERT
Mass in E flat major (D950)
Winterreise
Schwanengesang

SCHUMANN
Manfred

STRAUSS
Der Rosenkavalier - Ochs

STRAVINSKY
The Rake's Progress - Nick Shadow

TCHAIKOVSKY
Eugene Onegin - Gremin

TIPPETT
A Child of our Time

VERDI
Macbeth - Banco
Requiem
Rigoletto - Sparafucile

WAGNER
Die Meistersinger von Nürnberg - Pogner
Das Rheingold - Fasolt

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Schedule

Opera National, Bordeaux

DONIZETTI Anna Bolena

Conductor, Leonardo Vordoni
Director, Marie-Louise Bischofberger

Anna Bolena, Elza van den Heever
Enrico VIII, Matthew Rose
Giovanna Seymour, Keri Alkema
Lord Rochefort, Patrick Bolleire
Lord Riccardo Percy, David Lomeli
Smeton, Sasha Cooke
Sir Hervey, Christophe Berry

Orchestre National Bordeaux Aquitaine
Chœur de l’Opéra National de Bordeaux

Opera National, Bordeaux

DONIZETTI Anna Bolena

Conductor, Leonardo Vordoni
Director, Marie-Louise Bischofberger

Anna Bolena, Elza van den Heever
Enrico VIII, Matthew Rose
Giovanna Seymour, Keri Alkema
Lord Rochefort, Patrick Bolleire
Lord Riccardo Percy, David Lomeli
Smeton, Sasha Cooke
Sir Hervey, Christophe Berry

Orchestre National Bordeaux Aquitaine
Chœur de l’Opéra National de Bordeaux

Opera National, Bordeaux

DONIZETTI Anna Bolena

Conductor, Leonardo Vordoni
Director, Marie-Louise Bischofberger

Anna Bolena, Elza van den Heever
Enrico VIII, Matthew Rose
Giovanna Seymour, Keri Alkema
Lord Rochefort, Patrick Bolleire
Lord Riccardo Percy, Bruce Sledge
Smeton, Sasha Cooke
Sir Hervey, Christophe Berry

Orchestre National Bordeaux Aquitaine
Chœur de l’Opéra National de Bordeaux

Opera National, Bordeaux

DONIZETTI Anna Bolena

Conductor, Leonardo Vordoni
Director, Marie-Louise Bischofberger

Anna Bolena, Elza van den Heever
Enrico VIII, Matthew Rose
Giovanna Seymour, Keri Alkema
Lord Riccardo Percy, David Lomeli
Smeton, Sasha Cooke
Sir Hervey, Christophe Berry

Orchestre National Bordeaux Aquitaine
Chœur de l’Opéra National de Bordeaux

Opera National, Bordeaux

DONIZETTI Anna Bolena

Conductor, Leonardo Vordoni
Director, Marie-Louise Bischofberger

Anna Bolena, Elza van den Heever
Enrico VIII, Matthew Rose
Giovanna Seymour, Keri Alkema
Lord Rochefort, Patrick Bolleire
Lord Riccardo Percy, David Lomeli
Smeton, Sasha Cooke
Sir Hervey, Christophe Berry

Orchestre National Bordeaux Aquitaine
Chœur de l’Opéra National de Bordeaux

Barbican Hall, London

STRAUSS Ein Heldenleben
BEETHOVEN Mass in C major

Fabio Luisi, conductor

Christiane Oelze, soprano
Anna Stephany, mezzo-soprano
Timothy Oliver, tenor
Matthew Rose, bass

London Symphony Chorus
London Symphony Orchestra

Royal Opera House, Covent Garden, London

DONIZETTI Maria Stuarda


Conductor, Bertrand de Billy
Directors, Moshe Leiser & Patrice Caurier

Maria, Joyce DiDonato
Elisabetta, Carmen Giannattasio
Roberto, Ismael Jordi
Lord Cecil, Jeremy Carpenter
Giorgio, Matthew Rose
Anna Kennedy, Kathleen Wilkinson
Royal Opera Chorus
Orchestra of the Royal Opera House

Royal Opera House, Covent Garden, London

DONIZETTI Maria Stuarda


Conductor, Bertrand de Billy
Directors, Moshe Leiser & Patrice Caurier

Maria, Joyce DiDonato
Elisabetta, Carmen Giannattasio
Roberto, Ismael Jordi
Lord Cecil, Jeremy Carpenter
Giorgio, Matthew Rose
Anna Kennedy, Kathleen Wilkinson
Royal Opera Chorus
Orchestra of the Royal Opera House

Royal Opera House, Covent Garden, London

DONIZETTI Maria Stuarda


Conductor, Bertrand de Billy
Directors, Moshe Leiser & Patrice Caurier

Maria, Joyce DiDonato
Elisabetta, Carmen Giannattasio
Roberto, Ismael Jordi
Lord Cecil, Jeremy Carpenter
Giorgio, Matthew Rose
Anna Kennedy, Kathleen Wilkinson
Royal Opera Chorus
Orchestra of the Royal Opera House

Royal Opera House, Covent Garden, London

DONIZETTI Maria Stuarda


Conductor, Bertrand de Billy
Directors, Moshe Leiser & Patrice Caurier

Maria, Joyce DiDonato
Elisabetta, Carmen Giannattasio
Roberto, Ismael Jordi
Lord Cecil, Jeremy Carpenter
Giorgio, Matthew Rose
Anna Kennedy, Kathleen Wilkinson
Royal Opera Chorus
Orchestra of the Royal Opera House

Royal Opera House, Covent Garden, London

DONIZETTI Maria Stuarda


Conductor, Bertrand de Billy
Directors, Moshe Leiser & Patrice Caurier

Maria, Joyce DiDonato
Elisabetta, Carmen Giannattasio
Roberto, Ismael Jordi
Lord Cecil, Jeremy Carpenter
Giorgio, Matthew Rose
Anna Kennedy, Kathleen Wilkinson
Royal Opera Chorus
Orchestra of the Royal Opera House

Royal Opera House, Covent Garden, London

DONIZETTI Maria Stuarda


Conductor, Bertrand de Billy
Directors, Moshe Leiser & Patrice Caurier

Maria, Joyce DiDonato
Elisabetta, Carmen Giannattasio
Roberto, Ismael Jordi
Lord Cecil, Jeremy Carpenter
Giorgio, Matthew Rose
Anna Kennedy, Kathleen Wilkinson
Royal Opera Chorus
Orchestra of the Royal Opera House

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Press

Bach

CD: St John Passion

Academy of Ancient Music/Richard Egarr

"Among British singers, perhaps no bass has come nearer to perfection in his portrayal of Christ than Gwynne Howell. Making even the somber authority of his singing a component of an affecting vulnerability, bass Matthew Rose rivals Howell’s heroic but refreshingly human performance. Mr. Rose is a Christ who sounds genuinely hurt by the accusations he faces, and there is an acutely emotive suggestion of weariness in his performance. This is a Christ unafraid to express doubt, fear, and uncertainty—and, thus, one of very personal charisma and relevance. In ‘Stecke dein Schwert in die Scheide,’ Mr. Rose’s Christ seems stung by Peter’s violence: his admonishment is disquieted rather than scolding. Throughout the performance, Mr. Rose looks beyond the obvious qualities of Bach’s characterization of Christ, bringing an individual interpretation that proves fascinating. Vocally, not one note of Christ’s music is beyond Mr. Rose’s capacity, and he encounters no technical challenge that he is not capable of meeting. When the voice must move, Mr. Rose reveals considerable flexibility, and his lower register is rich and unforced. Critically, however, he creates a thoughtful, winningly masculine Christ who ultimately is all the more extraordinary for in so many ways being just another man. He is the perfect musical and dramatic partner for the Evangelist of James Gilchrist."
Joseph Newsome, Voix des Arts, 26 March 2014

Mendelssohn

Elijah: 22 March 2014

Blackheath Halls Orchestra & Chorus, St John's Smith Square, London

"Matthew Rose, as well as being a driving force behind the project, took on the role of Elijah and was suitably authoritative, with extremely clear text and subtle shaping of the recitative sections.  ... Once again, Rose was heartbreaking in the masterpiece “It is enough”
It can be said that tonight's performance lived up to the Times' review of the première – “a triumph”."
Emily Owen, Backtrack.com, 25 March 2014

Interview: Brief encounter with British Bass Matthew Rose

Matthew Rose talks to Keith McDonnell as he prepares for the world premiere of a new song cycle by Martin Suckling

Click on the following link to read Matthew Rose's interview for Whats on Stage Keith McDonnell, Whats on Stage, 12 March 2014

Puccini

Turandot

Royal Opera House, Covent Garden

"Ailyn Pérez sings with caressing warmth and stylishness as the self-sacrificing slave girl Liù, and Matthew Rose (Calaf’s father, Timur) shows all the makings of a future Wotan in his big, rich sound." METRO / Warwick Thompson
"Matthew Rose was, as always, excellent as Timur" The Telegraph / Rupert Christiansen
"Matthew Rose was an incredibly young-sounding Timur, and it was instructive to hear the role sung with such virility" What's On Stage / Keith McDonnell

Adams

El Niño

Royal Festival Hall

'the grand rhetoric of Matthew Rose's eloquent bass'

George Hall, The Guardian, 16 December 2013
'Matthew Rose, the bass, was now the dominating soloist'
Richard Fairman, Financial Times, 16 December 2013
'The constant exception was the bass Matthew Rose, clear as a bell for Joseph's suspicions over Mary's mysterious pregnancy, followed by touching trembles of wonder once the penny dropped'.

Geoff Brown, The Times, 16 December 2013

Handel

Acis and Galatea

Wigmore Hall

"Matthew Rose...delivered the beefy villain's music with a fine balance of heft and poise." Erica Jeal / The Guardian/ 28 November 2013
"From his first utterance, ‘I rage, I melt, I burn’, Rose filled the auditorium with a rich and profoundly satisfying sound. 

Both fearsome and grotesque, in this opening accompanied recitative and throughout the opera he conveyed the essential complexity of the role: are we supposed to laugh at the lovelorn ogre whose gauche compliments and endearments fail to impress, or to protest at his vicious, petulant cruelty which shatters the lovers’ harmony? Probably both; and, in the following aria, ‘O ruddier than the cherry’, Rose conveyed the immensity of the Cyclopean monster’s burning love for Galatea and his fiery hatred for Acis.

Ian Wilson’s delightfully sprightly recorder obbligato reminded us of Ovid’s humorous depiction of Polyphemus as a ferocious goliath who plays an outsized set of shepherd’s pipes! Polyphemus is the dramatic catalyst, disrupting the Elysian bliss, and Rose’s ferocious interjections in the peaceful duet, ‘The flocks shall leave the mountains’, brutally shattered the lovers’ calm avowals of constancy and steadfastness. 

Curnyn and his performers were justifiably radiant as they acknowledged the appreciative and heartfelt applause. This was a fantastic, engaging performance with not a single weak link. A fabulous evening."
Claire Seymour / Opera Today
"Matthew Rose had stepped in at the last minute to take on Polyphemus, and there is no finer giant around today, as those who heard him sing the role at Covent Garden will know.  You can't help but sympathize with this hopeless lover, whose compliments never quite hit the mark, and 'O ruddier than the cherry' was gruesome perfection." Melanie Eskenazi / Music OMH / 28 November 2013
“Stepping in at short notice, Matthew Rose thundered splendidly as Polyphemus.” Richard Morrison / The Times / 29 November 2013
"Matthew Rose strode in at short notice to sing the giant Polyphemus (I heard him in the role at Covent Garden in 2009). He is suitably tall and with a magnificent, cavernous voice." Kate Kellaway / The Observer / 1 December 2013

Britten

Albert Herring

Barbican Centre, London

"The cast list for this performance was amazing ... Matthew Rose, now the leading bass of his generation as Superintendent Budd." Michael tanner, The Spectator, 30 November 2013

Britten

A Midsummer Night's Dream

Metropolitan Opera

"The mechanicals, too, were excellent, particularly the rich-toned, thoughtful bass Matthew Rose as Bottom"
Zachary Woolfe, New York Times, 13 October 2013
"Matthew Rose’s booming bass and keen comedic sense made Bottom’s efforts to take over all of the parts in the rustics’ play, his antics when wearing a donkey’s head, and his playing of Pyramus a tour de force from start to finish."
David M Rice, Classical Source, 13 October 2013
"More bombastic but no less impressive is Matthew Rose as Bottom. He dances and whirls about the stage as a donkey and sings with vibrant vocal power. His insertions of donkey sneezes during some lines brought the audience to hysteria every single time without fail and his final scene in the "play" performance is some of most incredible comic timing showcased at the Met opera in years."
David Salazar, Latino Post, 12 October 2013
"In the role of Bottom, Matthew Rose sang with an integrity that's rare in comic roles and did the gag humor in ways that accomplished what Britten missed."
David Patrick Stearns, Operavore, 13 October 2013
"But the standout performances belong to the rustics, particularly Matthew Rose as Bottom and Barry Banks as Flute.  The comedic role of Bottom, and the group of men as whole, verge on the ridiculous at times in terms of their physical comedy, but if anyone was bothered, surely Rose’s gorgeous bass voice would have more than made up for it.  Rose never languishes in his sound however, as when Puck transforms him into an ass, he deftly infuses his voice with the occasional screeching and braying sounds and just the right amount of physical acting.  In the final scene where the men put on their play for the royals, Flute and Bottom opposite each other as star-crossed lovers is a comic highlight."
Sophia Vastek, The Classical Review, 13 October 2013

Elgar

The Dream of Gerontius

Gloucester Cathedral

"Matthew Rose, in ringing voice as the Priest and Angel of the Agony" Hugh Canning, 11 August 2013

Verdi

Macbeth

Blackheath Halls

"Matthew Rose’s towering, glowering Banquo" Anna Picard, The Independent, 13 July 2013

Mozart

Die Entführung aus dem Serail

Garsington Opera

Best of all, Matthew Rose seethes and rages to brilliant comic effect as Osmin, a glum bodyguard straight out of Men in Black. Richard Morrison, The Times, 11 June 2013
Matthew Rose makes a marvellously lugubrious bloodhound of Osmin, turning 'O wie will ich triumphieren!' into a showstopper. Rupert Christiansen, The Telegraph, 08 June 2013
The excellent Matthew Rose, playing Osmin – truculent, brutish, baleful – also handles himself well in a part with some very tricky moments, testing both his range and nimbleness. Kimon Daltas, The Arts Desk, 08 June 2013
Osmin is a part which sounds as though it had been written for Matthew Rose, so wonderfully does his voice plumb its depths and his characterization reach its absurdities. Melanie Eskenazi, Music OHM, 10 June 2013
Matthew Rose as Osmin, the disgruntled bodyguard fighting for Blonde’s attentions sang as he always does — masterfully, with a deep rich tone and a magnificent presence.

Melinda Hughes, Spears, 10 June 2013
The bass Matthew Rose is a wonderfully sonorous and malevolent presence as Selim’s henchman Osmin, who even kicks a member of his security detail in the groin. George Loomis, New York Times, 18 June 2013
Matthew Rose commands the stage whatever his role, and his Osmin, trailing a string of dopey henchmen, ranged from menacing bass to whiney tenor when confronted bny Blonde's resistance. Amanda Holloway, Opera, August 2013

Mozart

Die Zauberflöte

Royal Opera House, Covent Garden

Matthew Rose... is a moving, unusually convincing Sarastro Michael Tanner, The Spectator, May 2013

Schubert

Winterreise - Gramophone Magazine's Recording of the Month (April 2013), and BBC Radio 3's CD of the Week (27 April 2013)

Gary Matthewman, piano (Stone Records CD, 2013)

Written for tenor voice, often sung by a baritone, it acquires - literally - added depth in this beautiful reading by the Grammy-winning British bass Matthew Rose, who sings it mostly a fourth lower that its original key.  Schubert himself called them 'terrifying' songs and confessed to his own emotional exhaustion at having written them.  Rose and Matthewman, while in full, expressive form, convey that sense of being utterly wrung out. Fiona Maddocks, The Observer, 10 February 2013
Matthew Rose's new recording has low-voice novelty value, if nothing else.  Fortunately it has lots more, including emotional intensity, drama, mesmerising variety and subtle accompanying.  The bass sound provides a thought-provoking weight and darkness too. Warwick Thompson, Metro, 22 March 2013
C’est un volume de grande qualité et de belle facture que présente Stone Records avec une nouvelle interprétation du Voyage d’hiver de Schubert par la basse britannique Matthew Rose, accompagné par son jeune compatriote, le pianiste Gary Matthewman. La voix à l’assise solide, dotée d’une rondeur et d’une épaisseur confortables, donnant l’illusion de la facilité, déploie dès le numéro 1 (« Gute Nacht ») un timbre envoûtant sans que soient négligées l’articulation ni la diction, claire et compréhensible. Certains passages établissent une véritable osmose entre le piano et la voix (comme le début de « Der greise Kopf », nº 14, ou encore « Die Krähe », nº 15, très doux, intime, comme chuchoté). Les transitions sont particulièrement réussies au sein des morceaux qui font intervenir des changements de climat, la virtuosité du pianiste épousant la richesse des nuances vocales, avec de très beaux effets de contrastes (particulièrement dans « Rast », nº 10, et au service de la dimension dramatique du nº 11, « Frühlingstraum »).  Les deux talentueux interprètes donnent le meilleur d’eux-mêmes dans la douceur alliée à la fermeté, pourtant capable de suggérer la fragilité (nº 6 par exemple, « Wasserflut », avec des graves magnifiques). La souplesse et la ductilité de la voix de Matthew Rose font merveille dans « Irrlicht » (nº 9), avec un effet renforcé par la transposition pour basse des notes graves qui marquent les mots tiefst (« les plus profondes »), Felsengründe (« ravins), hinab (« vers le bas »), et encore dans « Einsamkeit » qui clôt la première partie du cycle.  Si le réconfort vient de ce qui enveloppe les passions, les couve et finalement les étouffe, la vie pourtant résiste sans cesse tout au long du cycle dans ces agacements d’un piano nerveux et tenace, obstiné dans le soutien qu’il apporte à une voix qui s’arrache constamment au cocon protecteur des notes graves pour exhaler sa plainte dans le medium et l’aigu. Encore trop vivant pour achever le voyage, pense-t-on par moments, et pour céder complètement à l’attrait vertigineux des profondeurs. Fabrice Malkani, Forum Opera, 12 April 2013
Like Hans Hotter, Matthew Rose leaves one with a sense of a vast burden of suffering determinedly endured against appalling odds. Richard Wigmore, Gramophone (Recording of the Month), April 2013
I can’t name another singer who is more expressive and who invests the words with greater weight and meaning than Rose...The voice is powerful and dark but very smooth, and it never loses support or turns weedy on the lowest notes. Dramatic points—and there are plenty of them-are made less through varying the timbre of the voice than they are through variations in dynamics and by agogic (i.e., durational) accents. It may sound like a contradiction in terms to call Rose’s performance both poignant and chilling, but his ability to express heartbreak and horror simultaneously makes this, for me, the most compelling Winterreise I’ve ever heard. This may be Rose’s debut recording, but he’s no stranger to the opera stages of La Scala, Covent Garden, and the Met. His partner in this enterprise, Gary Matthewman, is an indescribably sensitive accompanist, responsive to every inflection in vocal line and making more of his part than many a veteran pianist in this extraordinary cycle. This gets my highest possible recommendation: five gold stars. Jerry Dubins, Fanfare

Donizetti

Maria Stuarda

Metropolitan Opera, New York

Matthew Rose exudes basso dignity as Talbot. Martin Bernheimer, Financial Times, 02 January 2013
Matthew Rose brings a robust bass voice and dignified presence to the role of George Talbot (Giorgio), the Earl of Shrewsbury, who is loyal to Mary. Anthony Tommasini, New York Times, 01 January 2013
Bass Matthew Rose is warmly sympathetic as Mary's confessor, Talbot. Mike Silverman, San Francisco Chronicle, 31 December 2012
Matthew Rose as Talbot acquitted himself best with his alert, great-hearted singing in the long, ever-shifting duet between Mary and her keeper when she learns of her impending death. Marion Lignana Rosenberg, The Classical Review, 01 January 2013
On [Joyce DiDonato's] same level of restrained good taste [was] suave bass Matthew Rose as the courtier Talbot. James Jorden, New York Post, 02 January 2013
Matthew Rose, in handsomely orotund voice as Talbot... George Loomis, Opera, March 2013

Britten

Billy Budd

English National Opera

Rose embodies the Mephistophelean 'spirit of negation' - the star of the show. Hugh Canning, The Sunday Times, 24 June 2012
The triumph was Matthew Rose’s utterly compelling Claggart, sung with immense strength, colour and penetration, and superb in his Iago-like soliloquy explaining to himself why Budd in all his beauty must be destroyed. In fact, Alden’s directing of Rose’s Claggart was as virtuoso as anything he has done… a real tour de force. Tom Sutcliffe, Opera Now, September 2012
Matthew Rose's Claggart was strongly sung on ink-black tone.  The last sentence of his monologue, launched pianissimo, was properly spine-chilling. Rodney Milnes, Opera, August 2012
"[Claggart was] brilliantly acted and sung by the bass Matthew Rose — decades younger than James Morris, the venerable artist who sang the role in the Met’s revival in May — the master-at-arms was pale and wide-eyed, seemingly shellshocked by the trauma of his own secrets. He emanated the anger that arises out of great frustration. Restrained and intense, Mr. Rose’s performance was as powerful and troubling a representation of the enervating effects of the closet — effects demonstrated by the resolute aloofness of Britten’s opera — as Heath Ledger’s in 'Brokeback Mountain'. Zachary Woolfe, New York Times, 03 July 2012
The most provocative interpretation was that of Claggart, the corrupt master-of-arms, played by Matthew Rose, winner of the 2012 Critics' Circle exceptional young talent award. Delivering his vocal lines with unsnarling warmth of tone, he added complexity to the role, pacing back and forth in obsessive straight lines and suggesting a terrible, bottled-up hatred. For the first time you could believe that Claggart himself once possessed a similar, Billy-type "handsome sailor" beauty before life, in some unspoken way, betrayed him... Rose's Claggart alone is worth the ticket. Fiona Maddocks, The Observer, 24 June 2012
In an impressive cast, no one is finer than Matthew Rose. As Claggart, one of his biggest roles to date, he present a chilling study in evil, dressed in a long leather coat and all the more powerful for his moon-faced impassivity. He sculpts the words with his dark bass-baritone. John Allison, The Sunday Telegraph, 24 June 2012
[Matthew Rose] brought vocal power and ominous shadings to his performance. Anthony Tommasini, New York Times, 25 June 2012
Matthew Rose lends Claggart the impassivity of a sphinx, the physique of a wrestler and the snarl of a devil. Andrew Clark, Financial Times, 20 May 2012
On stage Matthew Rose was the star of the show: a granitic monster of a Claggart, vocalised with chilling authority. Rupert Christiansen, The Telegraph, 20 June 2012
...the master-at-arms John Claggart, dominates the stage, especially as chillingly sung by bass Matthew Rose...[his voice] so well-focused and perversely beautiful in tone that we hang on his every word. Mike Silverman, Associated Press, 24 June 2012
Matthew Rose's Claggart is terrifying – not for any obvious malevolence, but for the contained cruelty that his impassive presence projects, delivering his credo towards the end of the first act while fondling the neckerchief he has taken from Budd. Andrew Clements, The Guardian, 19 June 2012
Matthew Rose's Claggart projects a chilling magnificence that steals the show, sung with dark but incisive clarity. Michael White, The Telegraph, 19 June 2012
Matthew Rose’s Claggart is a terrific achievement from this rising bass (winner of the Critics’ Circle award for exceptional young talent). Richard Morrison, The Times, 20 June 2012
Matthew Rose’s indomitably cruel Claggart. Edward Seckerson, 19 June 2012
Praise be for Matthew Rose, the pasty-faced nasty who was last night the saving grace of the leading roles…Rose is a perceptive actor with a richly expressive bass voice, and conveyed his malignant character (a Iago, if you like) with a still concentration in his body and sudden, arresting contortions of his mouth. The performance of the night. Ismene Brown, The Arts Desk, 19 June 2012
Matthew Rose gives a terrifying account of that meaty role; on the whole he is quiet, almost drugged, and he paces the stage slowly to creepy effect. Rose's voice is now richer than ever, so his evil 'Credo' has every colour and a vast dynamic range. Michael Tanner, The Spectator, 30 June 2012

Verdi

Rigoletto

Royal Opera House, Covent Garden

Matthew Rose brought suave musicality to Sparafucile, making him more than the standard rumbling thug. 

Hugo Shirley, Opera, June 2012
There was superb in-depth casting in the roles of Sparafucile and Maddalena: Matthew Rose was, as always, an electrifying presence. Michael Tanner, Spectator, 14 April 2012
Matthew Rose shone in the murky role of Sparafucile. Fiona Maddocks, Observer 15 April 2012
Matthew Rose, fondling his knife with psychopathic intensity, gives really ominous weight to Sparafucile's deep dark lines. Richard Morrison, The Times, 01 April 2012
Christine Rice’s seductive Maddalena and Matthew Rose’s morose Sparafucile are both near ideal.  Rupert Christiansen, The Telegraph, 02 April 2012
Matthew Rose as the assassin Sparafucile and Christine Rice as his sister Maddalena also deserve honourable mention. Barry Millington, Evening Standard, 02 April 2012
As Sparafucile, Matthew Rose brings his typically authoritative deep voice to the role. Colin Anderson, The Opera Critic, 30 March 2012
Matthew Rose was a suitably menacing Sparafucile. Jim Pritchard, Seen and Heard, 31 March 2012

Schubert

Schwanengesang

Pembroke College, Cambridge with Joseph Middleton (piano)

By chance I had been to a recital by [Matthew Rose] in Cambridge of Schubert's 'Schwanengesang', the most impressive account I have heard of that difficult non-cycle for a long while.  Rose is a true bass, who surely has a great future in the black Wagner roles, among others. Michael Tanner, The Spectator, 03 March 2012

Mozart

Don Giovanni

Glyndebourne Festival Opera

The finely-sung Leporello of Matthew Rose. David Gutman, The Stage, 23 May 2011
...personality, persuasive acting, a sparkle of panache [are] qualities always visible in Matthew Rose’s servant Leporello, fussing, capering and moaning alongside [Giovanni]. Geoff Brown, The Times, 25 May 2011
Matthew Rose is an excellent Leporello. Stephen Walsh, The Arts Desk, 23 May 2011
Matthew Rose’s engaging, boyish Leporello. Fiona Maddocks, The Observer, 29 May 2011
Matthew Rose's lightly comic Leporello finds space for a great deal of subtlety amidst the buffo bluster. Hugo Shirley, Musical Criticism, 02 June 2011
Lucas Meacham’s Giovanni and Matthew Rose’s Leporello engage in the kind of crackling repartee we expect from native Italian speakers. Andrew Clark, Financial Times, 25 May 2011
Matthew Rose, as the Don’s sidekick Leporello, infuses that picaresque figure with an unaccustomed gravitas, thus showing him in an interesting new light. Michael Church, The Independent, 23 May 2011

Stravinsky

The Rake's Progress

Glyndebourne Festival Opera

The casting is virtually ideal, with the stupendously malevolent, terrifying Nick of Matthew Rose towering above all of them and all of us. This young artist is already great, and will be greater. Michael Tanner, The Spectator, September 2010
Matthew Rose sang Shadow lovingly, his rich bass lyrical and free of overdone demonic acridity. Kate Molleson, Opera, October 2010
Matthew Rose’s solid Nick Shadow is a winner. George Hall, The Stage, 09 August 2010
Matthew Rose's beautifully sung Nick Shadow. Tim Ashley, The Guardian, 09 August 2010
Matthew Rose was a vocal and physical presence from the moment the Trulove's garden gate swung open to reveal him, black and cross-hatched as if literally cut out of the shadows. Edward Seckerson, The Arts Desk, 09 August 2010
Matthew Rose is an imposing Nick Shadow, with a whiff of sulphur under the bonhomie. Clare Colvin, Sunday Express, 15 August 2010
…the sootily-clad Nick Shadow, played with devilish sang-froid by Matthew Rose. Fiona Maddocks, The Observer, 15 August 2010

Recordings

BACH: St John Passion

James Gilchrist (Evangelist), Matthew Rose (Christ), Ashley Riches (Pilatus), Elizabeth Watts (soprano soloist), Sarah Connolly (alto soloist), Andrew Kennedy (tenor soloist), Christopher Purves (bass soloist), Philippa Hyde (Ancilla), Richard Latham (Petrus), James Geer (Servus); Choir of the Academy of Ancient Music; Academy of Ancient Music; Richard Egarr, direction and harpsichord [Recorded at Saint Jude-on-the-Hill, London, UK, 1 – 5 April 2013; AAM Records AAM002; 2CD, 104:37; Available from AAM, Amazon, Presto Classical, and major music retailers
AAM Records

BEETHOVEN: Missa Solemnis

Lucy Crowe/Jennifer Johnston/James Gilchrist/Matthew Rose
The Monteverdi Choir
The Orchestre Révolutionnaire et Romantique
Sir John Eliot Gardiner
sdg

BRITTEN: Billy Budd

Recording of the 2010 Michael Grandage production at Glyndebourne, conducted by Sir Mark Elder

Cast includes:
John Mark Ainsley, Jacques Imbrailo, Phillip Ens, Matthew Rose
London Philharmonic Orchestra
Glyndebourne CD

VERDI: Otello

Shortlisted for the Gramophone Awards 2011

Sir Colin Davis conductor

Simon O'Neill Otello / Gerald Finley Jago/ Allan Clayton Cassio / Ben Johnson Roderigo / Alexander Tsymbalyuk Lodovicio / Matthew Rose Montano / Lukas Jakobski A Herald / Anne Schwanewilms Desdemona / Eufemia Tufano Emilia

London Symphony Chorus
London Symphony Orchestra
LSO Live

LISZT ABROAD

Rebecca Evans, Andrew Kennedy, Matthew Rose, Iain Burnside

Franz Liszt reflects in his songs his ‘polyglot’ attraction to 19th-century culture, shown in these settings of French, German, Italian, English, Russian and Hungarian texts.
Signum Classics

HANDEL: Acis and Galatea

Christopher Hogwood conducts the Orchestra of the Age of Enlightenment in Wayne McGregor's production of Handel's opera.

The cast includes Danielle de Niese (Galatea), Charles Workman (Acis), Matthew Rose (Polyphemus), Paul Agnew (Damon), and Ji-Min Park (Corydon).

Recorded live at the Royal Opera House, Covent Garden, on 8th April 2009.


Opus Arte

HANDEL: Messiah

Conducted by Stephen Cleobury

Ailish Tynan, Alice Coote, Allan Clayton, Matthew Rose
King's College Choir, Cambridge
Academy of Ancient Music 

Warner Classics

BIZET: Carmen

Royal Opera House, Covent Garden production conducted by Antonio Pappano. Cast includes
Antonacci/Kaufmann/D'Arcangelo/Amsellem

Directed by Francesca Zambello
Deutsche Grammophon

TIPPETT: A Child of Our Time

Editor's Choice - Gramophone
Opera and Vocal Disc of the Month - Classic FM Magazine

Sir Colin Davis 

Indra Thomas Soprano
Mihoko Fujimura Alto
Steve Davislim Tenor
Matthew Rose bass
London Symphony Chorus
London Symphony Orchestra
LSO Live