Robert Murray


Robert Murray studied at the Royal College of Music and the National Opera Studio. He won second prize in the Kathleen Ferrier awards 2003 and was a Jette Parker Young Artist at the Royal Opera House Covent Garden. Operatic roles at the Royal Opera House include Tamino ('Die Zauberflote'), Lysander (‘A Midsummer Night’s Dream’), Agenore ('Il re Pastore'), Belfiore (‘La Finta Giardiniera’), Jacquino (‘Fidelio’) and Don Ottavio (‘Don Giovanni’). Other roles include the title role in ‘Albert Herring’ for Glyndebourne On Tour; Nanki-Poo, Tamino, Don Ottavio and Idamante for English National Opera and Tom Rakewell (‘The Rake’s Progress’) for Garsington Opera.

Concert work includes Haydn’s Nelson Mass with Sir John Eliot Gardiner for the BBC Proms; Handel’s ‘Solomon’ with the Norddeutscher Rundfunk in Hamburg; Mozart’s C Minor Mass both with the City of Birmingham Symphony Orchestra under Sir Charles Mackerras, and with Le Concert D’Astrée; Britten’s War Requiem with Simone Young and Britten’s ‘Our Hunting Fathers’ with Thomas Adès at the Aldeburgh Festival; Strauss’s ‘Elektra’ with the Royal Scottish National Orchestra and Edward Gardner, Schumann’s ‘Manfred’ with the BBC Scottish Symphony Orchestra and Ilan Volkov at the Edinburgh Festival and ‘Tristan und Isolde’ with the Rotterdam Philharmonic and Valery Gergiev.

In recital he has performed at the Newbury, Two Moors and Aldeburgh Festivals. He has toured ‘Die Schöne Müllerin’ extensively with Malcolm Martineau, recorded a recital of Brahms, Poulenc and Barber with Simon Lepper for Voices on BBC Radio 3, and performed ‘On Wenlock Edge’ with the Dante Quartet both at the 2006 Brighton Festival and at London’s Wigmore Hall.

This is for information only and should not be reproduced. Please contact Kate Baylis for a full, current biography.

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Milton Court, London

An overview of the musical scene in London during the 1760s, interspersed with colourful readings from contemporaneous descriptions of the city. The programme includes Mozart’s first symphony, composed in Chelsea when he was eight, a harpsichord concerto by J.C. Bach whose finale is a set of variations on ‘God Save The King’ and arias from Thomas Arne’s Judith and Artaxerxes.

Ana Maria Labin (soprano)
Helen Sherman (mezzo-soprano)
Robert Murray (tenor)

Steven Devine (harpsichord)
Ian Page (conductor)
The Orchestra of Classical Opera

Milton Court, London

A concert of highlights from the English operas that were performed at the Theatre Royal Covent Garden and the Theatre Royal Drury Lane during Mozart’s time in London. The programme includes arias from operas by George Rush, Michael Arne & Jonathan Battishill, William Bates and Thomas Arne, many of which are receiving their first performance in modern times.

Rebecca Bottone (soprano)
Sarah-Jane Brandon (soprano)
Robert Murray (tenor)

Ian Page (conductor)
The Orchestra of Classical Opera

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La clemenza di Tito

Cadogan Hall

Robert Murray's elegance and soft-grained timbre, with its flickering vibrato, characterized a ruler with a gentle heart. Yehuda Shapiro, Opera, May 2014


Acis & Galatea

Wigmore Hall

...the tenor, incisive and full-bodied from the start, came into his own in the second part. Love sounds th'alarm was a show-stopper, with Murray pacing its long crescendos to arresting effect. Erica Jeal, The Guardian, 28th November 2013
...Robert Murray was a vibrant Acis, insouciantly throwing a top C into the mix... Richard Morrison, The Times, 29th November 2013
Robert Murray's Acis was splendid too: his effortlessly powerful tenor sending out the SOS "Where shall I seek the charming fair?/ Direct the way, kind genius of the mountains!" right to the back of Wigmore Hall with no strain. Kate Kellaway, The Observer, 1st December 2013


Spring Symphony

Aldeburgh Festival

Comparably brilliant but more touching, the Mahlerian choral anthology of his “Spring Symphony” in the second half recalled Britten’s ability to set words in an unexpected way that nonetheless feels right, even inevitable. And as mediated here by Mr. Knussen — a conductor who grew up at Britten’s feet and has absorbed what makes his music work — the symphony had an explosive energy that all three vocal soloists, especially the tenor Robert Murray, helped enlarge. As strong and forthright a performance as I’ve ever heard. Michael White, New York Times, 25th November 2013


Peter Grimes


...the inhabitants of the Borough are sharply etched by the likes of Robert Murray (Bob Boles)... Rupert Christiansen, The Sunday Telegraph, 1st September 2013
The other characters make a marvellous gallery...Robert Murray's Bob Boles; all human life really is there. It's a remarkable, and surely unrepeatable achievement. Andrew Clements, The Guardian, 18th June 2013



Hamburgische Staatsoper

The tenor Robert Murray invests Essex's "lute songs" with engaging lyricism but also projects the Earl's hot-tempered nature... George Loomis, The New York Times, 2nd April 2013



Welsh National Opera

As Jephtha, tenor Robert Murray is fluent, his paternal anguish apparent... 
Rian Evans, The Guardian, 1st October 2012
Well-paced violins supported the splendid depiction of Jephtha by Robert Murray. His superb florid semiquaver passages in true baroque style were a delight. 
Maggie Cotton, Birmingham Post, 16th November 2012



Gabrieli Consort&Players, Wingèd Lion fortunate in having soloists of the calibre of...tenor Robert Murray...

Geoffrey Norris, The Sunday Telegraph, 16th September 2012



The Sixteen, Coro

Handel, Saul - The Sixteen (Coro)Jonathan's soliloquy disobeying his father's cruel order to assassinate David is sung thoughtfully by Robert Murray.
David Vickers, Gramophone, September 2012


King Arthur

Edinburgh International Festival

All of which was great fun, but a mere adjunct to the beauty of the music, with some lovely duets and trios from within the choir as well as solos from the principles, none lovelier than tenor Robert Murray's aria as a shepherd counting his blessings.
Keith Bruce, The Herald, 27th August 2012


La périchole

Garsington Opera

Her boy friend, Piquillo, is beautifully sung by Robert Murray...
Rupert Christiansen, The Telegraph, 22nd June 2012
 ...Robert Murray's delightful Essex-boy Piquillo...
Tim Ashley, The Guardian, 20th June 2012
...Robert Murray's appealing Piquillo...
Michael Church, The Independent, 19th June 2012
At the centre are two first-rate performances from the ingenue leads...Robert Murray's Piquillo. Both of them sing with grace and style...he...softer and more vulnerable.

George Hall, The Stage, 19th June 2012


The Flying Dutchman

English National Opera

Also excellent is Robert Murray’s articulate Steersman. 
George Loomis, The New York Times, 22nd May 2012
But the evening’s most elegant singing came from Robert Murray as the Steersman.
Rupert Christiansen, The Telegraph, 30th April 2012
Indeed, the evening’s best singing comes from the two tenors on the periphery...Robert Murray as a laddish Steersman.
Richard Morrison, The Times, 29th April 2012


The Dream of Gerontius

City of Birmingham Symphony Orchestra, Symphony Hall

Robert Murray...went on to offer a searching, introspective reading of the title role. This was a Gerontius properly in extremis: his Take Me Away was spine-tingling.

Evening Standard, 16th April 2012



BERLIOZ: Grande Messe des Morts

Paul McCreesh, conductor
Robert Murray, tenor

Ensemble Wrocław
Chetham’s School of Music Symphonic Brass Ensemble
Gabrieli Consort & Players
Wrocław Philharmonic Orchestra
Wrocław Philharmonic ChoirAgnieszka Franków-Żelazny
Benjamin Bayl Assistant

Winged Lion

POULENC: The Complete Songs Vol. 2

Lisa Milne, soprano
Lorna Anderson, soprano
Robert Murray, tenor
Felicity Lott, soprano
Christopher Maltman, baritone
Jonathan Lemalu, bass-baritone
Malcolm Martineau, piano

Order code:SIGCD263

POULENC: The Complete Songs Vol. 1

Lisa Milne, soprano
Lorna Anderson, soprano
Robert Murray, tenor
Felicity Lott, soprano
Christopher Maltman, baritone
Jonathan Lemalu, bass-baritone
Malcolm Martineau, piano
Order code: SIGCD247