Robert Murray was a Jette Parker Young Artist and has sung for the Royal Opera House, English National Opera, Opera North, Garsington Opera, Welsh National Opera, Norwegian Opera, Hamburg State Opera and Salzburg Festival. Recent highlights include a tour of Messiah with the Academy of Ancient Music, Haydn’s Creation with the Simon Bolivar Orchestra conducted by Gustavo Dudamel and with the LSO under Edward Gardner, and Written on Skin at the Lincoln Center with Alan Gilbert conducting the Mahler Chamber Orchestra. During the 2016/17 season and beyond he returns to ENO for Rodelinda, Garsington Opera for Semele and the Edinburgh Festival for Peter Grimes; he appears in concert with the Gothenburg Symphony (Simone Young), Bergen Philharmonic (Edward Gardner), City of Birmingham Symphony Orchestra (Nicholas Collon) and Konzerthaus Orchestra Berlin (Paul McCreesh).
Video & Audio
From The Green Room
09 Feb 19 The Dream of Gerontius London Mozart Players, Crouch End Festival Chorus Queen Elizabeth Hall
Robert Murray was an excellent choice for Gerontius, bringing the right degree of English lyricism and subtly applied vibrato to the role, yet providing enough power to cut through the instances of loud orchestral underlay, and his hushed ‘Novissima hora est’ rising out of the preceding choral diminuendo was magical indeed.
Barry Creasy, MusicOMH
22 Sep 18 En Masse Circa Brisbane Festival 2018
Circa, En Masse, Brisbane Festival 2018
Murray’s soft singing is particularly ravishing.
Trevor Jones, The Conversation
Amongst the bodies a dishevelled vagrant – tenor Robert Murray –sings the Ständchen from Schubert’s Schwanengesang, his tone dark and plaintive, accompanied by an invisible piano.
Angus McPherson, Limelight Magazine
04 Aug 18 Haydn: Creation Edinburgh Festival with the SCO Usher Hall, Edinburgh
He was helped by characterful soloists (Sarah Tynan, Robert Murray, Neal Davies) who projected the slightly rewritten English texts with operatic pungency…
Richard Morrison, The Times
08 Jun 18 Britten: Michelangelo Sonnets Aldeburgh Festival 2018 Snape Maltings Concert Hall
Lighter relief was provided by Britten’s erotic song-cycle Seven Sonnets of Michelangelo, eloquently sung by Robert Murray…
Rupert Christiansen, The Telegraph
Skilfully, Matthews makes sure the tenor soloist, here the expressive Robert Murray…
Richard Fairman, FT
The songs with their Italian texts also reveal other, unexpected influences, including, surprisingly, that of Puccini, whose spirit seems to haunt several of these unbridled love songs; Murray caught that Italianate quality superbly.
Andrew Clements, The Guardian
Robert Murray was rich-voiced, expressive and sensitive to the songs’ needs – moving from an almost Sprechstimme-style rhythmic delivery in the first to a more operatic manner in the third…
Barnaby Page, Classical Source
Robert Murray was the chosen soloist and his strong and eloquent tenor voice radiated round the vastness of the Snape Maltings Concert Hall with consummate ease that more than endeared the audience to the singer’s musical prowess and, indeed, to the rather lovely setting of the sonnets themselves which speak so tenderly of love.
Robert Hugill, Planet Hugill
17 Nov 17 The Rake's Progress Wilton's Music Hall
As for the cast, it’s one you’d expect to find in a far more glamorous theatre. It’s led by Robert Murray, who brings an easy, confiding manner and an airy-sounding tenor to Tom.
Erica Jeal, The Guardian
Robert Murray makes a moving Tom Rakewell, an affable innocent, his voice always sweet.
Rebecca Franks, The Times
His honeyed English timbre sweetened the Wilton’s air every time he sang.
Mark Valencia, What’s On Stage
Pristine tenor Robert Murray has such beauty of voice as Tom, it is quite hard to believe the character’s other gifts and judgement are so lacking.
Claudia Pritchard, Culture Whisper
02 Dec 16 ELGAR 'The Dream of Gerontius' Seattle Symphony Orchestra Benaroya Hall, Seattle
“The greatest challenges fell to tenor Robert Murray, who sang Gerontius with beautiful timbre, expressive depth, and immaculate diction.”
Melinda Bargreen, The Seattle Times
19 Jun 16 MOZART 'Idomeneo' Garsington Opera
“Robert Murray’s relatively small role as the High Priest did not disappoint: a typically intelligent, intriguingly ambiguous performance.”
Opera Today, Mark Berry
“Robert Murray’s High Priest has a wonderful sense of urgency and fateful accusation.”
Bachtrack, Charlotte Valori
“It’s a testament to the quality of this house that it is able to cast the roles of Arbace and the ‘High Priest’ (Robert Murray) with tenors who could equally well sing the title role.”
MusicOMH, Melanie Eskenazi
22 May 16 ELGAR 'The Dream of Gerontius' City of Birmingham Symphony Orchestra Brighton Festival
“in particular, the tenor Robert Murray whose crystal clear tones could soar above the orchestra when required and never lost any of that clarity when reduced to the faintest of whispers. His was a performance of such delicate balance that as well as being finely sung it was both dramatic and moving.”
Andrew Kay, thelatest.co.uk
“Conductor Edward Gardner, of operatic background, seemed connected to every musician and every chorister on stage. He led tenor Robert Murray as Gerontius, an old man on point of death, to putting every ounce of feeling into an emotionally charged performance of stunning intensity.”
Louise Schweitzer/The Argus
01 May 16 SCHUBERT 'Die schöne Müllerin' Andrew West, piano Stone Records
“He offers a clear-sighted and straightforwardly touching account. His is a light, cleanly produced voice with a narrow bore, which also takes on hints of a heroic steel … Murray’s intelligence shines through across the complete cycle, with a clever interpretative touches in the strophic songs.”
Gramophone Magazine, September 2016
10 Jul 15 DELIBES 'Lakmé' Opera Holland Park
“Fflur Wyn [was] complemented by the warm honeyed tenor of Robert Murray as the smitten army officer. Their duets were as pleasurable as their arias, and both demonstrated an elegant sense of Gallic style.”
Rupert Christiansen, The Telegraph, 10 July 2015
“Robert Murray draws muscular passion from the feckless Gérald.”
Alexandra Coghlan, The Independent, 10 July 2015
“[Fflur Wyn] is well matched with Robert Murray as her British army lover, Gérald … one of the loveliest tenor sounds around.”
David Nice, The Arts Desk, 10 July
“Robert Murray makes a worthy Gérald…his tenor always full of pleasing tone.”
Martin Kettle, The Guardian, 10 July 2015
“Robert Murray finds gallantry and even a degree of nobility to offset the perplexity of Gérald.”
Richard Whitehouse, Classical Source, 09 July 2015
“Robert Murray’s Gérald was impeccably sung, his fine golden tone well suited to this repertoire. His aria “Prendre le dessin d’un bijou” was delectable.”
Mark Pullinger, Bachtrack, 10 July 2015
“Robert Murray, fresh from courting Mabel in ENO’s Pirates of Penzance, tries his luck again, this time as Lakmé’s suitor, Gérald. The tenor is in excellent voice these days and his account of “Ah! viens dans la forêt profonde” was unwavering and passionate.”
Mark Valencia, What’s on Stage, 13 July 2015
“Robert Murray sings [Lakmé’s] suitor Gérald with a firm but poetic tenor that has class.”
Richard Fairman, Financial Times, 12 July 2015
09 May 15 SULLIVAN 'The Pirates of Penzance' English National Opera
“That elegant and versatile tenor Robert Murray does everything required of him as Frederic.”
Rupert Christiansen, The Telegraph, 10th May 2015
“Robert Murray as Frederic stood out in his often heartfelt arias”
Seen and Heard, Jim Pritchard, 22 May 2015
07 Jun 14 OFFENBACH 'Vert-Vert' Garsington Opera
“Robert Murray’s mellifluous Valentin”
Michael Church, The Independent, 9th June 2014
“The cast is pretty much faultless. Robert Murray has the ideal sweetness of voice for the plonker of a hero, and the security of his soft singing above the stave is exemplary”
Rupert Christiansen, The Telegraph, 10th June 2014
“The principal singers are very strong too. Robert Murray plays Valentin as a naive buffoon, but sings with rapt sweetness in his duet with Mimi.”
Edward Bhesania, The Stage, 16th June 2014