Matthew Rose


This season Matthew Rose sings Colline (La Boheme) at the Metropolitan Opera, Collatinus (The Rape of Lucretia) and Callistene (Poliuto) for the Glyndebourne Festival. He appears in concert with the English Concert (Hercules) and with the Academy of Ancient Music (Poppea) and sings Leporello with the Milwaukee Symphony Orchestra. On the recital platform he will appear at the Kennedy Center, Washington and at London's Wigmore Hall.  Future opera engagements include returns to Covent Garden, the Glyndebourne Festival, Metropolitan Opera and his debut at the Lyric Opera of Chicago.

In concert he appears 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 and Fabio Luisi, 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.

Matthew's critically acclaimed recording of Winterreise has recently been released on the Stone Records label and his recording of Schwanengesang will be released in Autumn 2014.

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

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News & Features


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

Mass in C  
Missa Solemnis
Symphony No. 9

Norma -  Oroveso

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

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

Mass in F Minor

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


The Dream of Gerontius

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

The Creation 
The Seasons 
Nelson Mass

The Cunning Little Vixen - Haraschta
Glagolitic Mass

Elijah - Elijah

L'incoronazione di Poppea - Seneca

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

Songs and Dances of Death

La bohème - Colline
Turandot - Timur 

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

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

Symphony No. 14

Mass in E flat major (D950)


Der Rosenkavalier - Ochs

The Rake's Progress - Nick Shadow

Eugene Onegin - Gremin

A Child of our Time

Macbeth - Banco
Rigoletto - Sparafucile

Die Meistersinger von Nürnberg - Pogner
Das Rheingold - Fasolt

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Media Player


    Schubert: Aufenthalt



TBC, San Sebastian

J.S. BACH: St Matthew Passion

Edward Higginbottom, conductor
Toby Spence, Evangelist 
Matthew Rose, Jesus 
Maria Keohane, soprano 
Amy Lyddon, mezzo-soprano 
Guy Cutting, tenor 
Ashley Riches, bass
Academy of Ancient Music

Further information here

Barbican Hall, London

JS BACH: St Matthew Passion

Richard Egarr, director & harpsichord
James Gilchrist, Evangelist
Matthew Rose, Jesus 
Elizabeth Watts, soprano 
Sarah Connolly alto 
Andrew Kennedy tenor 
Christopher Purves bass

Academy of Ancient Music
Choir of the AAM

Further information here

Beethovenhalle, Bonn

BEETHOVEN: Missa Solemnis

Aga Mikolaj Sopran
Christine Rice Alt
Jeremy Ovenden Tenor
Matthew Rose Bass

John Nelson, Dirigent
Tschechischer Philharmonischer
Chor Brno
Beethoven Orchester Bonn

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Schwanengesang CD

Matthew Rose (bass), Malcolm Martineau (piano)

", with the pianist Malcolm Martineau, with whom Rose first sang the cycle in 2004, he ensures clear textures, sensitivity to the words and a lightness and variety of touch."
Please click the link below to read the full review. The Observer, Fiona Maddocks, 11 January 2015
"English bass Matthew Rose shows that a deep voice and low keys need not make for a gloomy experience in Schubert."
Richard Fairman, Financial Times, 2 January 2015
"his potential Wagnerian bass comes into its own in Kriegers Ahnung (Warrior’s Foreboding) and the great Heine settings Der Atlas and Der Doppelgänger"
Sunday Times, 11 January 2014
"he ensures clear textures, sensitivity to the words and a lightness and variety of touch."
Fiona Maddocks, The Observer, 11 January 2015


La Bohème

Metropolitan Opera, New York

"Alession Arduini and Matthew Rose were also excellent as Schaunard and Colline, respectively. The two were a tremendous joy to watch, but were also a major reason why the fourth act tragedy was so touching. It is often hard to remember that this is not just a tragedy of lost love for Rodolfo and Mimi. When the other characters have such real relationships with one another onstage in the Café Momus, the viewer is reminded that this opera is also about friendship and the loss of it. Thus Colline's famous aria "Vecchia zimarra" had greater profundity. Rose sang the passage with his fascinating bass which resounded through the theater in a way few other singers could do in this aria. It was moment of unreal pathos."
David Salazar, Latin Post, 26 November 2014
"Back at the garret, the opening of Act IV found English bass Matthew Rose (Colline the philosopher) and Italian baritone Alessio Arduini (the musician Schaunard, in his U.S. debut) at their dancing, dueling best. With less capable Bohème casts, all too often, Colline and Schaunard seem to get the shaft, but both Rose and Arduini proved hard to ignore once on stage."
Logan K Young, Classicalite, 19 November 2014
"Matthew Rose, whose “Vecchia zimarra senti”, deep and exact, was heartily applauded."
Thibault Courtois, Opera Online, 2 December 2014
"To complete the impeccable group of Bohemian friends, ready to give up all their belongings, even to take literally the coat off their back, was the magnificent bass Matthew Rose as Colline, who gave an unforgettable and touching version of the famous aria “Vecchia zimarra.”  His physical presence making him quite noticeable, Rose has the gift of a marvelous voice and obviously of a great technical training, since his performance was flawless."
Tiziano Thomas Dossena, Brooklyn Downtown Star, 3 December 2014


DON GIOVANNI / Milwaukee Symphony Orchestra

Marcus Center For The Performing Arts

"Matthew Rose matched that portrayal beautifully, bringing a colorful sound, huge dynamic and winning character to the role, along with some delightful physical comedy." Journal Sentinel , Elaine Schmidt, September 14, 2014
"The cast is quite simply world class, and showed its pedigree and experience throughout the evening. The true standouts: Rose’s Leporello, sung with command and acted with brilliantly disheveled roguery;" Milwaukee Magazine, Paul Kosidowski, 15 September 2014


Prom 54: Missa Solemnis: 26 August 2014

Orchestre Révolutionnaire et Romantique/Sir John Eliot Gardiner/Lucy Crowe/Jennifer Johnston/Michael Spyres/Matthew Rose/Monteverdi Choir, Royal Albert Hall, London

"Matthew Rose was suitably foreboding in the bass solo of the troubled Agnus Dei.  ...
the Agnus Dei began in imposing, almost Wagnerian fashion with the powerful Rose accompanied by dramatic stopped horns." 
David Fay, Bachtrack, 27th August 2014
"Beethoven uses his four soloists very much like a semi-chorus and Lucy Crowe, Jennifer Johnston, Michael Spyres and Matthew Rose made a very fine ensemble indeed. The four formed a finely balanced quartet, whilst each had distinctly characterful individual voice, with Lucy Crowe plangent and radiant, Jennifer Johnston straight toned and highly communicative, Michael Spyres fine grained Italianate sound and Matthew Rose's wonderfully trenchant delivery. Each had impressive solo moments, but it was the way their ensembles came together in a highly expressive and fluid way which impressed, full of beautifully shaped phrases and firm toned line."
Robert Hugill, Plant Hugill, 27 August 2014
"It certainly helped that the soloists – Lucy Crowe, Jennifer Johnston, Michael Spyres, and Matthew Rose – constituted a dream team"
Michael Church, The Independent, 29 August 2014


BBC Music Magazine

Musicians and their hobbies

"Playing golf fits rather nicely into my schedule as an opera singer. While I'm away doing a production, there are a lot of days in between performances where I can get in a round. Recently in Bordeaux, for instance, I managed to play golf two or three times a week. Wherever you go in the world, you can find a nice course to play on, and there are also like-minded people in opera I play with - Bryn Terfel, in particular, is a very keen golfer....."

To read the full article please click the link below.
BBC Music Magazine, September 2014


Maria Stuarda

Royal Opera House, Covent Garden

"Matthew Rose was, as always, absolutely first-class as the simpatico Talbot."
Rupert Christiansen, The Telegraph, 6 July 2014
"Matthew Rose presents an authoritative Talbot."
Barry Millington, The Evening Standard, 7 July 2014
"Matthew Rose's resonant, crypto-Catholic Talbot"
George Hall, The Guardian, 6 July 2014
"Matthew Rose’s Talbot is perhaps the better foil for DiDonato however – matching her depth of timbre, and contributing to the quietly devastating impact of the confessional aria."
Alexandra Coghlan, The Arts Desk, 6 July 2014


St Matthew Passion

Academy of Ancient Music/Richard Egarr, Concertgebouw, Amsterdam

"Matthew Rose's Christus was simply immense. His luscious, noble cantabile gave Christus rich emotional and dramatic heft."
Rosemary Carlton-Willis,, 13 April 2014


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


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,, 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



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


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


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


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


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


The Dream of Gerontius

Gloucester Cathedral

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


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


Die Zauberflöte

Royal Opera House, Covent Garden

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


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


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



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



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



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

STRAVINSKY: The Rake's Progress

Topi Lehtipuu (Tom Rakewell)
Miah Persson (Anne Trulove)
Matthew Rose (Nick Shadow)
London Philharmonic Orchestra; Vladimir Jurowski
Stage Director(s): John Cox

Released: Nov 2011
Recorded: 2010
Opus Arte

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


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

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