Wagner's Das Rheingold at the Ruhrtriennale
with performances 12, 16, 18, 20, 22, 24 & 26 September
A new production by Johan Simons
conducted by Teodor Currentzis
"Ein Leidender, ein Cooler, ein Beschissener: Leigh Melrose ist das eigentliche Herzstück vom "Rheingold"
Alberich macht alles wieder gut. Leigh Melrose macht aus dem Nibelung die einzige tatsächliche Figur, geborsten, irre, ein Michael Fassbender in Nibelheim, man bedauert ernsthaft, dass er so lange verschwunden ist, während man den Göttern zuschaut."
Der Welt, 13th September 2015
"Unter den Sangern ragt Leigh Melrose als Alberich ob seines eindringlich demonstrierten bosartigen Irrsinns heraus."
Frankfurter Rundschau, 14th September 2015
"Aus der Schar der Sänger-Darsteller ragt stimmlich... Leigh Melroses Alberich, der Wagners Diktum des von der Sprache gesteuerten Gesangs geradezu exemplarisch"
www.nachtkritik.de, 14th September 2015
in Willie Decker's production of
Death in Venice
at Teatro Real, Madrid
A cambio, impresionó el barítono Leigh Melrose en su catálogo camaleónico de personajes, subrayando la calidad de un montaje con el que Joan Matabosch imprime carácter a su era como director artistico del Teatro Real.
Ruben Amon El Mundo, 5th December 2014
Leigh Melrose encarna a todas esas voces del mundo interior del escritor que le impulsan a dejarse llevar a la ciudad italiana, a rendirse a los placeres, y después a una playa del Lido que supondrá un punto de inflexión en el que alcanzará un amor supremo y prohibido que le conducirá a la vergüenza y a su último aliento sobre la arena.
Miguel Perez Martin El Pais, 5th December 2014
Heroico es también el papel del baritono Leigh Melrose, que se canta siete u ocho papeles. Melrose es una fuerza de la naturaleza como cantante y como actor.
Alvaro Guibert www.elcultural.es/ 10th December 2014
A new production directed by Carrie Cracknell and conducted by Edward Gardner
"Musically, it's astonishing. Melrose, giving the performance of a lifetime, charts Wozzeck's disintegration with unflinching veracity and an extraordinary expressive range that veers from lyrical intensity to snarl or eerie falsetto"
Tim Ashley, The Guardian, May 2013
"It's hard watching Leigh Melrose as Wozzeck, a broken man shuffling from one abuse to another, fixated only on providing for Marie and his son in troubled times. That's the other thing this opera is about - poverty and what it does to people. And the way Melrose conveys the hopelessness of uncontrollable torment through the huge dynamic range of his vocal performance is both thrilling and deeply upsetting. It may be the performance of his life."
Edward Seckerson, The Arts Desk, May 2013
"But Leigh Melrose has done nothing better than this Wozzeck, never overplaying his doltishness and singing throughout with clarity and musicality"
Rupert Christiansen, The Telegraph, May 2013
"powerfully expressive baritone Leigh Melrose"
Opera News Magazine, June 2015
The world premiere of Dai Fujikura's new opera in
Théâtre des Champs-Élysées, Paris
Lille & Lausanne
"On pense aux prestations vocales de tout premier ordre, grâce à l'intensité de Leigh Melrose..."
Le Figaro, 7th March 2015
"le baryton vaillant et très expressif de Leigh Melrose se jouant d'une écriture exigeante..."
Resmusica, 12th March 2015
in Luca Francesconi's Quartett
"Kristin Chavez and Leigh Melrose give terrifically committed and skillful performances"
Rupert Christiansen The Telegraph, 19 June 2014
"It's not a joyous show, then, but in John Fulljames's intense production I found it engrossing, especially the interaction between two brilliant singer-actors: Kirstin Chavez as the dishevelled but still competitive Merteuil; Leigh Melrose, out-sneering even John Malkovich (if such is possible) as a posturing, sardonic Valmont who has clearly crossed into insanity and a nihilism born of an inability to love the one person who understands him."
Richard Morrison The Times, 19 June 2014
"The intensity of the performances by Kirstin Chavez and Leigh Melrose - claustrophobic, heady, unfiltered - depict a pair who are intimate enough to openly parade their most deplorable features. Melrose in particular enters the role with abandon and sings with great stamina."
Edward Bhesania The Stage, 19 June 2014
in Birtwistle's Gawain and the Green Knight with the BBCSO at the Barbican
"with Leigh Melrose incandescent in the title role..."
Anna Picard The Times, 19 May 2014
"Leigh Melrose was Gawain, charting his character's personal journey from cocksure innocence to pained experience very surely"
Andrew Clements The Guardian, 18 May 2014
"In a role he created John Tomlinson remains utterly peerless, but was matched by new-to-the-title-role Leigh Melrose, with just the right amount of bravado to start and emotionally shattered to end."
Nick Breckenfield classicalsource.com, 17 May 2014
English National Opera
Tim Ashley, The Guardian
22 November 2012
"Leigh Melrose returns as Escamillo, delivering a superbly energized Toreador Song with ringing top note bravado."
Arts Desk, May 2015
"Leigh Melrose ist mit metallischer baritonaler Energie und zunehmend strapazierfahigem Kern in der Stimme ein exzellenter Wozzeck"
Salzburger Nachrichten, May 2012
"Leigh Melrose als Sänger ist ein stimmlich strahlender durchschlagkräftiger Wozzek, als Darsteller ist er ein bemitleidenswerter und doch von Würde und Lebenswillen erfüllter Ecce Homo."
DrehPunktKultur, May 2012
Salzburg May-June 2012
News & Future Projects
Jumping in as Wozzeck at the
Royal Festival Hall & Zurich Opera
"Advertised to London as a star vehicle for the baritone Christian Gerhaher, Wozzeck was instead a triumph of ensemble and nerve. Stepping in for Gerhaher at 24 hours’ notice, Leigh Melrose gave a sensational performance of the title role: tense, taut, harried and bullied by the random rattling interrogations of his superiors. If you’re going to be an outsider, this is the role to be an outsider in."
The Times, 5th October 2015
"In short, Melrose triumphed in a magnificently all-embracing portrayal in one of the most dramatic concert performances of an opera that I’ve experienced..."
"The loss of Gerhaher turned out to be no loss at all. Indeed, although I was certainly curious to hear what a voice of such beauty would have made of the role, I cannot believe that the dramatic achievement of Leigh Melrose’s portrayal could possibly have been superseded. Melrose’s Wozzeck in English remains unforgettable, like much else from ENO’s brilliant Carrie Cracknell production. Here, he showed that, in the original language, his match of verbal and musical acuity with first-class acting – yes, although this was a ‘concert’ performance, much of what we saw as well as heard was in character – could, if anything, penetrate still deeper. Much nonsense has been spoken, probably more often written, about Fischer-Dieskau’s allegedly too ‘intellectual’ assumption of the role. One needs a mind to be able to understand and to communicate the darkest, most profound reaches of Berg’s – and of Wozzeck’s. This Wozzeck was as thoughtful and as sensitive as he was downtrodden and, ultimately, angered."
Another jump in!
An unexpected jump in this February: Friedrich in Wagner's Das Liebesverbot at Teatro Real, Madrid. It was a new production by Kasper Holten, conducted by Ivor Bolton, in a co-production with ROH.
Theatre of the World in LA and Amsterdam
A co-production between Dutch National Opera and the LA Philharmonic, this is the ambitious new "Grotesque Stagework in 9 scenes" by Louis Andriessen, telling a Faustian story about Athanasius Kircher.
We opened in LA on Friday 6th May, with further performances in Amsterdam in June.
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