Neal Davies studied at King’s College, London and the Royal Academy of Music, and won the Lieder Prize at the 1991 Cardiff Singer of the World Competition. He has sung with the world’s leading orchestra, under Sir Mark Elder, Paul McCreesh, Ivor Bolton, Mariss Jansons, Pierre Boulez, Christoph von Dohnanyi, David Zinman, Juanjo Mena, Nikolaus Harnoncourt, Frans Brüggen, John Storgårds, Edward Gardner and Daniel Harding. A regular guest of the Edinburgh Festival, BBC Proms, English National Opera and Welsh National Opera, he has also performed with the Royal Opera House Covent Garden, Scottish Opera, Garsington Opera, Deutsche Staatsoper Berlin, Opera di Roma and Lyric Opera of Chicago. He appears in Charpentier’s David et Jonathas from Aix-en-Provence, which is available on DVD. Engagements in the 2016/17 season and beyond include his return to the English National Opera for Ryan Wigglesworth’s new commission A Winter’s Tale and for Rodelinda, and to Garsington Opera for David Sawer’s new opera The Skating Rink.
World Management: Askonas Holt
18:00 21 May 2018 Deutsche Staatsoper Berlin, BERLIN More info
PURCELL ‘King Arthur’
Conductor: René Jacobs
Philidel: Anett Fritsch
Soprano: Robin Johannsen
Alto: Benno Schachtner
Arthur: Michael Rotschopf
Merlin: Hans-michael Rehberg
Oswald: Max Urlacher
Conon: Axel Wandtke
Osmond: Oliver Stokowski
Grimbald: Tom Radisch
Aurelius: Steffen Schortie Scheumann
Emmeline: Meike Droste
From The Green Room
JS BACH Mass in B minor
POULENC: The Complete Songs
CHARPENTIER 'David et Jonathas'
JS BACH 'St John Passion'
BEETHOVEN Symphony No. 9
'My Beloved Spake'
BRITTEN 'Billy Budd'
HAYDN 'The Creation'
17 Oct 17 Rodelinda English National Opera London Coliseum
Opera in English demands great diction and among the new cast members none did it better than the robust Garibaldo of Neal Davies.
Mark Ronan Theatre Reviews
Neal Davies is vocally and physically commanding in the baddie role of Garibaldo.
Michael Church, The Independent
Neal Davies takes the role of Grimoaldo’s ally Garibaldo with aplomb.
Colin Clarke, Seen and Heard International
Neal Davies was a terrifically rough-edged Garibaldo.
Claire Seymour, Opera Today
Neal Davies brought out the thuggish quality in Garibaldo, seemingly enjoying the excessive violence whilst singing in an assured manner.
Robert Hugill, Planet Hugill
Neal Davies channels heightened villainy as Garibaldo.
George Hall, The Guardian
Neal Davies and Susan Bickley live up to their staunchly reliable reputations as the scheming Garibaldo and Eduige.
Rupert Christiansen, The Telegraph
28 Feb 17 WIGGLESWORTH 'The Winter's Tale' English National Opera
“Other individual performances are equally strong, with Sophie Bevan a dignified Hermione, Neal Davies doubling convincingly as Antigonus and the Shepherd”
George Hall, The Stage, 28 Feb 2017
“…Neal Davies as Antigonus and Timothy Robinson as Camillo all excelled”
Fiona Maddocks, The Observer, 5 March 2017
“Neal Davies is luxury casting as the luckless Antigonus.”
Alexandra Coghlan, Broadway World
“Neal Davies summons the necessary integrity as Antigonus and brings warm-hearted naivety to the awkwardly humorous role of the Shepherd,”
Richard Whitehouse, Classical Source
“Timothy Robinson and Neal Davies offered strength in depth as the loyal Camillo and Antigonus”
Mark Pullinger, Bachtrack 28 February 2017
08 Dec 16 DURUFLÉ 'Requiem' CD 'Remembrance' Harmonia Mundi
“Neal Davies is a luxurious casting for the cameo bass solo”
Alexandra Coghlan, Gramaphone Magazine December 2016
05 Dec 16 WALTON 'Belshazzar's Feast' BBC National Orchestra of Wales St David's Hall, Cardiff
“soloist Neal Davies was a fervent Belshazzar.”
Rebecca Franks, The Times
14 Jul 16 HAYDN 'The Creation' Rambert Garsington Opera
“There’s a strong lineup of vocal soloists. … baritone Neal Davies sings with weight and presence.”
Zoë Anderson, Independent, 18 July 2016
“The text was eloquently sung and clearly articulated, with purposeful expression, by Neal Davies (bass-baritone, representing both Adam and the archangel, Raphael)”
Graham Watts, Bachtrack, 17 July 2016
16 May 16 HAYDN 'Die Schöpfung' Sydney Symphony Orchestra Sydney Opera House
“The three soloists were very special indeed…Neal Davies matched [Allan Clayton] depiction for depiction as a ripe, sonorous Raphael. A master word painter, his focussed, fruity baritone could be laden with mystery, enunciating the void, or full of fun rattling off the multifarious beasts of the field. Rolling in Foaming Billows and Now Heaven In Fullest Glory Shone were both standouts.”
Limelight Magazine, Clive Paget, 12 May 2016
“Neal Davies’ recitative about the whales and ‘every creature that moveth’ (Und Gott schuf große Walfische) was made particularly impressive by the multi-coloured sonorities of the divided lower strings. Davies himself provided perhaps the most memorable single moment of the evening by finishing his Part II recitativo (Gleich öffnet sich der Erder Schoß) on the low D, an octave lower than the one in the score – a note unattainably low for most bass singers.”
Bachtrack, Zoltán Szabó, 13 Mai 2016
22 Feb 16 HANDEL 'Ariodante' Scottish Opera Theatre Royal, Glasgow
“Neal Davies commands the stage as the community’s mostly benevolent leader”
David Kettle, The Arts Desk, 19 February 2016
“Much of the singing is beautiful… Neal Davies is a sonorous King”
Kate Molleson, The Guardian, 17 February 2016
“Neal Davies on fine form”
Mark Brown, Telegraph, 17 February 2016
27 Nov 15 HANDEL 'Messiah' BR Klassik, Munich
“The bass is Neal Davies and he’s very much to my taste. In ‘Why do the nations?’ he offers splendidly dramatic singing – there’s terrific vocal presence here – and in the section that begins ‘The kings of the earth rise up’ his articulation of the notes is enviable. The highlight of his contribution, however, is ‘The trumpet shall sound’. In the outer sections his singing is truly commanding and he sounds absolutely splendid. But what really made me sit up and take notice was the quietly lyrical, almost confiding way in which he delivers the central section, ‘For this corruptible must put on incorruption’; this is understanding and imaginative Handel singing.”
John Quinn, MusicWeb International
26 Oct 15 HANDEL 'Theodora' Scottish Chamber Orchestra, Harry Bicket Queen's Hall, Edinburgh
“Bass Neal Davies led the stunning line-up of soloists, relishing some wonderfully thunderous passages as the uncompromising President Valens.”
Susan Nickalls, The Scotsman
06 May 15 WALTON 'Belshazzar's Feast Royal Philharmonic Orchestra Royal Festival Hall, London
“The musical riches were considerable, not least from the wholly outstanding solos of Neal Davies. His contribution was superlative – every word clear and finely delineated, dead in tune (even in the long unbarred unaccompanied recitative “Babylon was great city”), understated and heroic by turns: in this listener’s experience, only Denis Noble in the composer’s own first recording of the work is to be compared – Davies is absolutely right for this role.”
Robert Matthew-Walker, Classical Source
Fidelio/Leonore Don Fernando
Beatrice et Benedict Don Pedro
La Damnation de Faust Brander, Mephistopheles
Curlew River Traveller
A Midsummer Night’s Dream Demetrius, Bottom
The Rape of Lucretia Junius, Collatinus
Billy Budd Mr Redburn
Il Matrimonio Segreto Conte Robinson
L’elisir d’amore Dulcamara
Don Pasquale Pasquale
Giulio Cesare Achilla
Acis and Galatea Polyphemus
Xerxes Ariodates, Elviro
The Makropolus Case Kolenaty
Die Zauberflöte Papageno, Sprecher
Don Giovanni Leporello
Le nozze di Figaro Figaro
La finta giardiniera Nardo
Così fan tutte Guglielmo, Don Alfonso
La clemenza di Tito Publio
Die Lustigen Weiber von Windsor Reich
La bohème Schaunard
Madama Butterfly Sharpless
Platée Satyr, Cithaeron
Die Freunde von Salamanca Fidelio
Die Fledermaus Frank
The Pirates of Penzance Major General Stanley
For concert repertoire, please be in touch with Jonathan Turnbull.