MatthewRose

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Bass
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Nicholas Moloney

Nicholas Moloney

Senior Artist Manager
Megan Steller

Megan Steller

Associate Artist Manager

Representation

Worldwide general management with Askonas Holt

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About Matthew

British bass Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House, Covent Garden.

Matthew's international career has seen him enjoy a close relationship with The Metropolitan Opera, for whom he gave his 100th performance in 2022. His roles there include Filippo II and Monk (Don Carlos), Raimondo (Lucia di Lammermoor), Claudio (Agrippina), Masetto and Leporello (Don Giovanni), Oroveso (Norma), Ashby (La Fanciulla del West), Talbot (Maria Stuarda), Bottom (A Midsummer Night's Dream), Night Watchman (Die Meistersinger von Nürnberg), Frère Laurent (Roméo et Juliette) and Colline (La bohème).

The 2024/25 season includes returning to the role of Fasolt in Das Rheingold for the Bayerische Staatsoper, and performances of Rocco in Fidelio with the Opéra National de Bordeaux.

On the concert platform, Matthew sings Bruckner's Mass No. 3 with the SWR Symphonieorchester, Mussorgsky's Songs and Dances of Death with the London Philharmonic Orchestra, and returns to Winterreise in performances across the United Kingdom.

Matthew is based in London

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Representation

Worldwide general management with Askonas Holt

Follow Matthew

Season Highlights

Oct 2023
Philharmonie, Berlin
Dvořak Stabat Mater Jakub Hrůša (conductor) Berliner Philharmoniker
Dec 2023
Grand Théȃtre de Genève
R. Strauss Der Rosenkavalier (Baron Ochs) Jonathan Nott (conductor) Christoph Waltz (director)
Jan 2024
Maison de la Radio et de la Musique, Paris
Beethoven Symphony No. 9 Mikko Franck (conductor) Orchestre Philharmonique de Radio France

Audio

  • Schubert - Einsamkeit from Winterreise
    Credit: Stone Records
  • Schubert - Die Nebensonnen from Winterreise
    Credit: Stone Records
  • Schubert - Grenzen der Menschheit
    Credit: Wigmore Hall

Photos

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Selected Repertoire

BelliniNorma (Oroveso)
BerliozRoméo et Juliette (Frère Laurent)
BrittenBilly Budd (Claggart)   •   Curlew River (Abbott)   •   A Midsummer Night’s Dream (Bottom)   •   Noye’s Fludde (title role)   •   Peter Grimes (Swallow)   •   The Rape of Lucretia (Collatinus)
DonizettiAnna Bolena (Henry VIII)   •   Lucia di Lammermoor (Raimondo)   •   Maria Stuarda (Talbot)   •   Poliuto (Caliestene)
HandelAcis and Galatea (Polyphemus)   •   Athalia (Abner)   •   Hercules (title role)   •   Theodora (Valens)
JanáčekThe Cunning Little Vixen (Harasta)
MonteverdiL’incoronazione di Poppea (Seneca)
MozartLa clemenza di Tito (Publio)   •   Don Giovanni (Leporello)   •   Die Entführung aus dem Serail (Osmin)   •   Le nozze di Figaro (title role)   •   Die Zauberflöte (Sarastro)
PucciniLa bohème (Colline)   •   Turandot (Timur)
RavelL’Enfant et les sortileges (Le Fauteuil / Un Arbre)
RossiniIl Barbiere di Siviglia (Don Basilio)   •   Guillaume Tell (Walter)   •   Il Viaggio a Reims (Lord Sidney)
StraussDer Rosenkavalier (Ochs)
StravinskyThe Rake’s Progress (Nick Shadow)
TchaikovskyEugene Onegin (Gremin)
VerdiMacbeth (Banco)   •   Rigoletto (Sparafucile)
WagnerDie Walküre (Wotan)   •   Tristan und Isolde (King Marke)   •   Die Meistersinger von Nürnberg (Pogner)   •   Das Rheingold (Fasolt)

News

Press

  • Strauss’ Der Rosenkavalier

    Santa Fe Opera
    Jul 2024

    • Matthew Rose - clad in clashing plaids - commanded and shaped every moment of Ochs's text with artistry, his bass booming out in fine fettle. Ochs may have outstayed his welcome with the Marschallin, but the audience remained with Rose's character: a rare achievement in my experience.

      • David Shengold, Opera News
      • 01 November 2024

    • Rose’s voice has a resonant deep tone, and, along with his comic timing, stole the show on many occasions.

    • Matthew Rose was a commanding Baron Ochs, vocally and physically. Rose was especially impressive in the opera’s second act, much of which he drives after Sophie and Octavian meet and fall in love. Ochs has an enormous amount of text, almost every word of which was understandable in his performance. Rose is very tall, which gave his confrontations with the petite Sophie some additional comic zing. His Ochs revels in his (moderate) aristocracy and the immoderate wealth he anticipates from his wedding to Sophie. He also conducts lots of manspreading in Act II, giving his loutishness some 21st century resonance.

    • Matthew Rose embraced fully the irredeemably uncouth manner of the Baron, presenting him with a deft mixture of pompous self-importance and clownish swagger. But if the character’s garish costumes and bright-red side-whiskers suggested little more than a stock buffoon, Mr Rose’s intelligent, conversational delivery of the fast-paced dialogue in his initial meeting with the Marschallin gave unexpected depth to a figure who can often appear one-dimensional. Certainly Mr Rose approached the Baron’s least savoury moments with gusto -his little waltz in the second act was suitably crass- but his measured delivery, and his refusal to play the role solely for laughs, provided a solid centre amidst the chaos of the third act.

Discography