MarkStone

/
Baritone
Scroll for more

Contact

Nicholas Moloney

Nicholas Moloney

Senior Artist Manager
Hannah Bishay

Hannah Bishay

Associate Artist Manager

Representation

Worldwide general management with Askonas Holt

Follow Mark

About Mark

Mark Stone is an English Helden baritone, acclaimed for his performances of Wagnerian roles, such as Alberich in Das Rheingold and Siegfried at Longborough Festival Opera, Wotan in Die Walküre for Trondheim Symfoniorkester, and Gunther in Götterdämmerung at the Grand Théâtre de Genève. He works extensively in Germany (Hamburgische Staatsoper, Deutsche Oper Berlin, Staatsoper Hannover) and the USA (Santa Fe Opera, Opera Philadelphia) where he is also renowned for his performances of modern works such as the title role in Nixon in China and the world premiere of Huang Ruo’s M. Butterfly.

This season sees Mark sing the title role of Der fliegende Holländer for Trondheim Symfoniorkester and Klingsor in Parsifal at the Hamburgische Staatsoper. On the concert platform, Mark will sing Totentanz with Thomas Adès and the Leipzig Gewandhausorchester, join Carolyn Kuan and the BBC Singers and BBC Symphony Orchestra to sing a concert performance of Ruo’s M. Butterfly and sing Sir George Benjamin’s Written on Skin conducted by the composer himself and the Accademia Nazionale di Santa Cecilia.

Representation

Worldwide general management with Askonas Holt

Follow Mark

Season Highlights

Oct 2024 - Oct 2024
Gewandhaus zu Leipzig
Adès: Totentanz Thomas Adès (conductor) Leipzig Gewandhausorchester
Oct 2024
Barbican, London
Huang Ruo: M. Butterfly Carolyn Kuan (conductor) BBC Singers BBC Symphony Orchestra
Feb 2025 - Feb 2025
Trondheim Opera
Wagner: Der fliegende Holländer (title role)

Selected Repertoire

AdamsNixon in China (Nixon / Chou En-lai)
AdesThe Tempest (Sebastian)
BarryAlice’s Adventures Under Ground (Cheshire Cat)
BenjaminWritten on Skin (Protector), Lessons in Love and Violence (The King)
BergWozzeck (Wozzeck)
BizetCarmen (Escamillo)
BrittenAlbert Herring (Sid)   •   A Midsummer Night’s Dream (Demetrius)   •   Peter Grimes (Balstrode/Ned Keene)   •   Billy Budd (Billy Budd)   •   Gloriana (Mountjoy)   •   The Rape of Lucretia (Junius)   •   Curlew River (Ferryman)
DebussyPelléas et Mélisande (Golaud)
DonizettiLucia di Lammermoor (Enrico)
FrancesconiQuartett (Valmont)
GluckIphigénie en Tauride (Oreste)
GounodFaust (Valentin)   •   Roméo et Juliette (Capulet)
HolstSavitri (Death)
HumperdinckHänsel und Gretel (Peter)
J. StraussDie Fledermaus (Eisenstein/Falke)
JanacekThe Cunning Little Vixen (Forester)
JethsHôtel de Pékin (Guangxu)
LangerFigaro Gets a Divorce (Count)
MascagniCavalleria rusticana (Alfio)
Maxwell DaviesThe Hogboon (The Hogboon)
MessagerVeronique (Florestan)
MozartCosì fan tutte (Don Alfonso)   •   Die Zauberflöte (Papageno)   •   Don Giovanni (Don Giovanni)   •   Le nozze di Figaro (il Conte/Figaro)
PucciniTosca (Scarpia)   •   Gianni Schicchi (Gianni Schicchi)   •   La bohème (Marcello)   •   La fanciulla del West (Jack Rance / Sonora)   •   Madama Butterfly (Sharpless)   •   Manon Lescaut (Lescaut)
R. StraussIntermezzo (Robert Storch)   •   Der Rosenkavalier (Faninal)   •   Salome (Jochanaan)   •   Elektra (Orest)   •   Ariadne Auf Naxos (Musiklehrer)   •   Arabella (Mandryka)
SawerSkin deep (Luke Pollock)   •   From Morning to Midnight (Bank Manager)
ScharrinoVenere e Adone (Il Mostro)
SondheimSweeney Todd (Sweeney Todd)
TchaikovskyEugene Onegin (Onegin)   •   Iolanta (Robert)   •   Pique Dame (Yeletsky / Tomsky)
TippettKing Priam (Hector)
VerdiRigoletto (Rigoletto)   •   Falstaff (Falstaff / Ford)   •   La forza del destino (Don Carlo)   •   La traviata (Germont)
WagnerDie Feen (Morald)   •   Das Liebesverbot (Friedrich)   •   Der fliegende Holländer (Holländer)   •   Lohengrin (Telramund)   •   Das Rheingold (Alberich)   •   Die Walküre (Wotan)   •   Siegfried (Alberich)   •   Götterdämmerung (Alberich/Gunther)   •   Tristan und Isolde (Kurwenal)   •   Parsifal (Klingsor / Amfortas)
WeberDer Freischütz (Ottakar)

News

Press

  • Huang Ruo's M. Butterfly

    Barbican Centre, London
    Oct 2024
    • Both Mark Stone as Gallimard and Kangmin Justin Kim as Song Liling appeared in the original production in Santa Fe, and reprised their roles in the Barbican Hall. Stone, with his secure baritone that could feel overwhelming powerful one minute and extremely sensitive the next, gave a high engaging performance as the obsessive and obsessed diplomat, and his final scene could not have felt more emotive.

    • As Gallimard, Mark Stone sings with imposing heft and immaculate diction. His journey from ambassadorial sang-froid to emotional collapse wrings the heart.

    • As the diplomat, Mark Stone conveyed appropriate naivety, infatuation and (after realising he has been betrayed) suicidal anguish with plenty of vocal clout.

    • Baritone Mark Stone and countertenor Kangmin Justin Kim provide extraordinarily detailed interpretations that explore, in its essential ambiguity, the relationship between Gallimard, a French diplomat posted to Beijing, and Song, a Chinese opera singer, whose long love affair lies at the heart of the piece ... It’s hard to imagine performances of the two central roles more subtle, more emotionally complex or more credible – both physically and vocally – than the interpretations delivered here. We see inside the heart and soul of two people and their interaction is profoundly involving.

    • The storyline is tangled, switching between Beijing post-Cultural Revolution and the 1986 Paris imprisonment of René Gallimard (a commanding Mark Stone) for suspected espionage.

    • Almost the whole opera is shouldered by the two main characters: Mark Stone was tireless as the unfortunate René Gallimard

    • The opera opens with French diplomat René Gallimard in prison for espionage. English helden baritone Mark Stone sang this role back in its world premiere, so it’s no surprise that he was in total command on the Barbican Hall stage

    • Mark Stone, also revisiting his Santa Fe role, sang Gallimard ... his voice grew in stature as his character’s despair increased. The final confrontation where Song proves to Gallimard that he is a man was powerfully done