JohnFindon
Contact
For availability and general enquiries:
Rowan Bidmead
Dominic Domingo
For contracts, logistics and press:
Grace Hewett
Representation
Worldwide general management with Askonas Holt
About John
John Findon is currently a 2022/23 Harewood Artist at English National Opera and was a semi-finalist at Operalia 2023.
This 2023/24 season John makes his debut at Bayerische Staatsoper for 1st Armed Man and 2nd Priest (Die Zauberflöte), returns to the English National Opera for Bob Boles and cover of the title role in Peter Grimes, Luke (The Handmaid’s Tale) and Steva (Jenůfa) at English National Opera, before spending the summer at Glyndebourne Festival for 1st Armed Man/2nd Priest (Die Zauberflöte) and cover Melot (Tristan und Isolde).
On the concert platform this season, John will debut with the BBC Symphony Orchestra for Luigi Nono’s Canti di vita e d’amore with conductor Martyn Brabbins, Ulster Orchestra for Dvořák’s Stabat Mater with conductor Jac van Steen and will make a studio recording with the BBC Philharmonic.
Last season saw John make his debut at the Royal Opera House, Covent Garden as The Fool in a new Deborah Warner production of Wozzeck under the baton of Antonio Pappano. He returned to the English National Opera for roles including Spoletta (Tosca), Mime and cover Loge (Das Rheingold) and cover Paul (Die tote Stadt). He also returned to Garsington Opera to sing the role of Vašek (The Bartered Bride) and cover the role of Bacchus (Ariadne auf Naxos). On the concert platform, John performed with the London Philharmonic Orchestra under Edward Gardner, the London Chamber Orchestra and at Blackheath Halls.
Representation
Worldwide general management with Askonas Holt
Season Highlights
Selected Repertoire
| Bizet | Carmen (Don José) |
|---|---|
| Britten | Peter Grimes (title role and Bob Boles) • Owen Wingrave (Sir Philip) • Rape of Lucretia (Male Chorus) |
| Dvorak | Rusalka (The Prince) |
| Handel | Rodelinda (Grimoaldo) • Semele (Jupiter) |
| Humperdinck | Hansel and Gretel (Witch) |
| Janacek | The Cunning Little Vixen (Cock) • Jenufa (Steva) |
| Korngold | Die tote Stadt (Paul) |
| Leoncavallo | Pagliacci (Canio) |
| Mozart | Idomeneo (title role) • La clemenza di Tito (Tito) • Die Zauberflote (Monostatos, First Armed Man) |
| Puccini | Tosca (Spoletta) |
| Strauss | Ariadne auf Naxos (Bacchus) |
| Tchaikovsky | Iolanta (Vodemont) |
| Wagner | Die Meistersinger von Nürnberg (Walther) • Das Rhinegold (Mime/Loge) • Die Walkure (Siegmund) • Siegfried (Mime and Siegfried) • Gotterdammerung (Siegfried) • Tristan und Isolde (Melot) |
| Weber | Der Freischutz (Max) • Oberon (Huon) |
News
Press
Bizet Carmen
GlyndebourneMay 2024he found a breathtaking intensity, with a high-octane vibrato and gleaming ring in his confrontations with Escamillo and Carmen at the smugglers’ encampment, feeding off Chaieb’s defiance. In the final scene, the voice still shone, but found some added snarls and rasps, as the animal violence of the scene came out. On his knees, after strangling her – “You can arrest me now” – there was a rare moment of tenderness with a sob in the voice. One to watch.
- Benjamin Poore, Operawire
- 28 May 2024
He makes it his own, with a voice that grows in power as the character grows in confidence, and a stage presence that unfolds from detachment and diffidence to lethal passion.
- Claudia Pritchard, Culture Whisper
- 27 May 2024
