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  Tenors: Robert Burt - Reviews
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Die Fledermaus‚ Opera Holland Park
Planet Hugill (July 2016)


'Robert Burt brought a lovely pompousness to Dr Blind.'

Alice’s Adventures in Wonderland‚ CD review
Opera (December 2015)


'Robert Burt’s Queen of Hearts - all heaving indignation and histrionic solipsism - corpulently real'

Alice’s Adventures in Wonderland‚ OHP at Linbury Theatre
The Stage (November 2015)


'There is not a weak link in the cast‚ in terms either of singing or acting...Robert Burt’s Queen of Hearts‚ while larger than life‚ is a cut above the typical pantomime dame'

Madama Butterfly‚ Nationale Reisopera
BachTrack.com (September 2015)


'Director Laurence Dale evidently worked extensively on characterisation with the soloists...Robert Burt was inflection- and gesture-perfect as the abhorrent marriage broker‚ Goro'

Madama Butterfly‚ Nationale Reisopera
Place de L’opera.nl (September 2015)


'Kleine maar uitstekende bijdragen waren er van Ruth Willemse (Kate Pinkerton)‚ Robert Burt (Goro)‚ Peter Brathwaite (Yamadori) en Vitali Rozynko (Il Commissario Imperiale) /// Small but outstanding contributions were received from Ruth Willemse (Kate Pinkerton)‚ Robert Burt (Goro)‚ Peter Brathwaite (Yamadori) and Vitali Rozynko (Il Commissario Imperiale)'

Alice’s Adventures in Wonderland‚ Opera Holland Park
British Theatre.com (August 2015)


'Among the individual performances...Robert Burt generated a storm of synthetic ‚bustling outrage as the Red Queen – very much a sister to Miss Trunchbull'

Adriana Lecouvreur‚ Opera Holland Park
Classical Source.com (July 2014)


'Robert Burt was the cynical and scheming Abbé de Chazeuil'

Adriana Lecouvreur‚ Opera Holland Park
MarkRonan.com (July 2014)


'...one of the joys of this performance. So was Richard Burt as the Abbé de Chazeuil — his slightly camp stage presence was a source of continual amusement‚ and his attempts to rearrange the flowers were a hoot'

Adriana Lecouvreur‚ Opera Holland Park
MusicOMH.com (July 2014)


'Simon Wilding and Robert Burt excel as the Prince de Bouillon and Abbé respectively'

Adriana Lecouvreur‚ Opera Holland Park
The Times (July 2014)


'Simon Wilding and Robert Burt make an entertaining Prince and Abbé'

Adriana Lecouvreur‚ Opera Holland Park
What’s On Stage.com (July 2014)


'More roundedly written are l’Abbé de Chazeuil (the ever-dependable Robert Burt)'

Alice’s Adventures in Wonderland‚ Opera Holland Park
BachTrack.com (July 2014)


'I very much enjoyed the Queen of Hearts’ song giving a brief history of beheading...The transformation of Alice’s affectionate but slightly frazzled parents into the Queen of Hearts and the Mad Hatter‚ equally well acted and sung in each role‚ is a nice take on more traditional doubled roles in older operas'

Alice’s Adventures in Wonderland‚ Opera Holland Park
Londonist.com (July 2014)


'A special plaudit goes to soprano Fflur Wyn‚ who embodies innocent and playful Alice‚ and to Robert Burt‚ who plays both Alice’s father and the Red Queen. Both their voices combine perfectly with their facial and bodily expressions‚ turning them into the most expressive characters'

Alice’s Adventures in Wonderland‚ Opera Holland Park
The Upcoming.co.uk (July 2014)


'Each eccentric character is brilliantly realised…and Robert Burt is pure caricature as the Red Queen lending her a fierce but delightful theatricality'

Johannes Passion‚ Nationale Reisopera
Bach Track.com (April 2014)


'The star of the performance was the Evangelist‚ played by Robert Burt. He lived the story as he told it‚ breaking down as Jesus is chastised and seeking refuge with Mary as they weep over him. This light‚ pleasant tenor is a narrator through and through'

Johannes Passion‚ Nationale Reisopera
De Stentor (April 2014)


'The evangelist (gripping Robert Burt) is a chronicler - journalist - writer behind a desk with a few books'

Johannes Passion‚ Nationale Reisopera
Place de l’Opera / Opera Magazine.nl (March 2014)


'Tenor Robert Burt raakte aan de uiterste grenzen van zijn expressiviteit‚ verend tussen schrille uitroepen en fluisterzachte verzuchtingen /// Tenor Robert Burt touched the borders of its expressiveness‚ cushioned between shrill cry and whisper soft sighs. His huge commitment‚ both vocally and scenically‚ changed the Evangelist from a neutral outsider to the beating heart of the evening'

Alice’s Adventures in Wonderland‚ Opera Holland Park
Opera (October 2013)


'Robert Burt flounced mightily as the Red Queen‚ with a climactic‚ decapitatory number of considerable force'

Alice’s Adventures in Wonderland‚ Opera Holland Park
Independent (July 2013)


'...when the Red Queen comes on to sing ‘Off with their heads’ – Robert Burt as a high-camp psychopath – we’re almost back in the world of “The Mikado”'

Alice’s Adventures in Wonderland‚ Opera Holland Park
Stage (July 2013)


'The show climaxes in a reappearance of Robert Burt’s properly terrifying Red Queen‚ whose Off With Their Heads! number provides one of several moments that arouse spontaneous applause...Opera Holland Park has gone for a high-quality cast‚ several of them regulars at this venue in full-scale operatic productions...Burt steals his scenes as an alarming Red Queen but without actually scaring the kids away'

I gioielli della Madonna‚ Opera Holland Park
Opera Britannia.com (July 2013)


'...there were excellent contributions from Robert Burt‚ Neal Cooper and Barnaby Rea'

Madama Butterfly‚ Opera Holland Park
Classical Source.com (June 2013)


'Robert Burt revealed a useful character tenor as Goro'

Madama Butterfly‚ Opera Holland Park
Musical Criticism.com (June 2013)


'The Goro of Robert Burt was commendably annoying (and better sung than most)... This is no ordinary production of Butterfly‚ despite its traditional garb. It is a must see for the exceptionally high level of artistry from all involved and‚ if London’s aberrant weather holds‚ for the experience of a lifetime'

Madama Butterfly‚ Opera Holland Park
Whats on Stage.com (June 2013)


'...a first-rate pool of supporting singers including Patricia Orr’s protective Suzuki ‚ Robert Burt’s cross-dressing marriage broker Goro'

Street Scene‚ The Opera Group at Théâtre du Châtelet
Musical America.com (February 2013)


'The singing was at a very high level and the “Ice Cream Sextet” by itself was worth the price of admission'

Le Couronnement de Poppée‚ DVD
Examiner.com (August 2012)


'The closest we get to aria are the comedic solos for the two nurses‚ Octavia’s unnamed nurse and Arnalta‚ (José Lemos and Robert Burt‚ respectively). Indeed‚ Arnalta is the character who steals the show with her song about how her own fortunes rise along with Poppea’s'

Le Couronnement de Poppée‚ DVD
Utmisol.fr (August 2012)


'Mention tout à fait spéciale pour la remarquable Arnalta de Robert Burt /// A very special mention for the outstanding Arnalta of Robert Burt'

The Fairy Queen‚ Glyndebourne
Opera Britannia (August 2012)


'This entertainment for Titania and Bottom celebrates the harvest and fertility‚ with randy Coridon (David Soar) attempting to steal a kiss from Mopsa (Robert Burt)‚ who’s having none of it. Emerging from a tumble in the haystack‚ the pair played the comedy for all it was worth...'

The Fairy Queen‚ Glyndebourne
Sunday Express (August 2012)


'Soprano Carolyn Sampson‚ tenor Robert Burt and bass David Soar are outstanding among the cast of young singers'

The Fairy Queen‚ Glyndebourne
Guardian (July 2012)


'The triumph of this production lies in the imagination and wit with which these potentially tricky masques are handled. They’re impeccably sung by a large cast – among whom Carolyn Sampson‚ Robert Burt and David Soar provide some of the highlights'

The Fairy Queen‚ Glyndebourne
Whats On Stage.com (July 2012)


'Some of the cast are familiar...Robert Burt’s Mopsa / Flute‚ who has us in stitches with his merry cavorting and flirtatious singing – and that was before the interval and its customary lubrication'

L’Incoronazione di Poppea‚Teatro Real‚ Madrid
baroque opera diary (April 2012)


'Tenor‚ Robert Burt who sung Arnalta was very good. This role is Poppea’s nanny and was originally written for tenor because it is comedic clown role. He got to sing the best aria in this opera‚ “Oblivion soave” and he sung it wonderfully'

Sweeney Todd‚ Adelphi Theatre London
Evening Standard (March 2012)


'And there’s some assured support‚ chiefly from Robert Burt as rival barber Pirelli'

Sweeney Todd‚ Adelphi Theatre London
Fourthwall Magazine (March 2012)


'Robert Burt delights as flamboyant‚ extravagant Pirelli'

Sweeney Todd‚ Adelphi Theatre London
Mark Ronan Wordpress.com (March 2012)


'The supporting roles were all well cast‚ with tenor Robert Burt as the Italian barber and Dr. Dulcamara-like character Pirelli'

Sweeney Todd‚ Adelphi Theatre London
Passion for Theatre.com (March 2012)


'Strong support from a few cast members helps to move this musical along. Robert Burt’s Pirelli should remind the audience of the Go Compare ad‚ except he is more funny and less irritating'

Sweeney Todd‚ Adelphi Theatre London
Rage Offstage.com (March 2012)


'...with Robert Burt giving an excellent cameo as Pirelli the fake Italian barber'

Sweeney Todd‚ Adelphi Theatre London
Seen & Heard International (March 2012)


'Robert Burt had some good notes and considerable comic gifts as Pirelli'

Sweeney Todd‚ Adelphi Theatre London
The Void.co.uk (March 2012)


'...and Robert Burt makes a particularly comical Pirelli'

Sweeney Todd‚ Adelphi Theatre London
Theatre Blogspot.com (March 2012)


'Other strong performances come from Robert Burt as Pirelli...'

Sweeney Todd‚ Adelphi Theatre London
Westendwhingers.com (March 2012)


'Todd’s first victim Pirelli is well played by Robert Burt'

Sweeney Todd‚ Chichester Festival Theatre
Seat Choice.com (November 2011)


'Pirelli (Robert Burt) was a delight and he‚ of course‚ gets the first blooding which this production does not avoid‚ there is blood and plenty of it‚ no representational deaths here!'

Sweeney Todd‚ Chichester Festival Theatre
Indie London.co.uk (October 2011)


'Todd’s first victim‚ the itinerant barber and purveyor of bogus medicaments‚ gives Robert Burt some effective moments‚ which he seizes with both hands so one is quite sorry in a way when he is laid to rest in Todd’s trunk'

Sweeney Todd‚ Chichester Festival Theatre
London Evening Standard (October 2011)


'There’s strong support from...Robert Burt as that grandstanding pseudo-Italian shyster Pirelli. What else can I say? Book your haircut now'

L’amico Fritz‚ Opera Holland Park
Classical Source.com (June 2011)


'...and there were lively cameos from Robert Burt and Simon Wilding as Fritz’s drinking companions Frederico and Hanezo'

L’amico Fritz‚ Opera Holland Park
Opera-Britannia.com (June 2011)


'The small roles of Federico and Hanezò‚ Fritz’s friends‚ were fleshed out by Robert Burt and Simon Wilding respectively'

L’Incoronazione di Poppea‚ Salle Pleyel Paris
ConcertoNet.com (May 2010)


'Ces effets de scène rendent possibles des touches comiques‚ notamment de la part de Robert Burt‚ qui‚ à l’instar de la production madrilène‚ se donne à corps perdu dans le comique et le grotesque lors de son dernier air‚ ce qui lui vaut d’ailleurs des applaudissements fort nourris'

L’Incoronazione di Poppea‚Teatro Real‚ Madrid
ConcertoNet.com (May 2010)


'Robert Burt‚ comédien‚ et aussi ténor‚ se tire fort bien du rôle travesti - et désopilant - d’Arnalta‚ et rend justice au recitativo cantabile Oggi sarà Poppea'

L’Incoronazione di Poppea‚Teatro Real‚ Madrid
El Imparcial (May 2010)


'...and Robert Burt‚ interpreting a stupendous Arnalta‚ which made the audience laugh when he sings of his joy at being turned into a confidante of the Empress'

The Fairy Queen‚ l’Opéra-Comique at Brooklyn Academy of Music New York
Brooklyn Eagle (March 2010)


'One of the most memorable scenes comes right at the end of Act III‚ Corydon and Mopsa (a hilarious Robert Burt‚ who skips about the stage like a little girl)...'

The Fairy Queen‚ l’Opéra-Comique at Brooklyn Academy of Music New York
Wall Street Journal (March 2010)


'...and Mr. Burt‚ here making a speciality of hilarious cross-dressing‚ was Flute/Thisbe as well as the falsetto Mopsa'

The Fairy Queen‚ l’Opéra-Comique
Bloomberg.com (January 2010)


'Kent emphasizes the farcical aspects. One highlight is the love duet between two peasants‚ Corydon (Andrew Foster- Williams) and Mopsa (sung by tenor Robert Burt)'

The Fairy Queen‚ l’Opéra-Comique
Le Monde (January 2010)


'...le public hurle de rire à chacune de leurs interventions (notamment à celles des géniaux Desmond Barrit‚ en Bottom‚ et Robert Burt‚ en Mopsa)'

Il ritorno d’Ulisse in patria‚ Teatro Real Madrid
Opera News (November 2009)


'Four artists were standouts in the cast of fifteen...Character tenor Robert Burt has made a speciality of Iro — considered the first true comic character in the history of opera — and it’s easy to understand why: he transformed this sketchy portrayal of a glutton and coward soldier at the service of Penelope’s suitors into an impersonation of human frailty with a depth akin to that of Shakespeare’s or Verdi’s Falstaff'

The Fairy Queen‚ Glyndebourne at BBC Proms
Musical Pointers.com (July 2009)


'...and good acting. Very good acting indeed‚ especially in the case of Desmond Barrit and Robert Burt‚ hilarious in drag‚ who are primarily singers'

The Fairy Queen‚ Glyndebourne Festival
Daily Mail (July 2009)


'There’s a very funny duet for Robert Burt and Andrew Foster-Williams as a pair of preposterous pastoral lovers'

The Fairy Queen‚ Glyndebourne Festival
Classical Source.com (June 2009)


'...and Robert Burt was a very funny Mopsa... appearing as an hilarious Thisbe in the final act...'

The Fairy Queen‚ Glyndebourne Festival
Mail on Sunday (June 2009)


'...Robert Burt displayed a winning comic touch in the cross-dressing dialogue between Coridon and Mopsa‚ an earthy duet that brought the house down'

The Fairy Queen‚ Glyndebourne Festival
Observer (June 2009)


'Coridon and Mopsa (Andrew Foster-Williams and Robert Burt) are a priceless pair of rustics who can’t agree about kissing and eventually disappear into a haystack to settle their differences'

The Fairy Queen‚ Glyndebourne Festival
Opera News (June 2009)


'Much of the singing was immaculate and the variety of mood contained in the score immense‚ from the agonized melancholy of "The Plaint" to the rough-and-tumble rural humor of the duet between shepherd-and-shepherdess pair Coridon and Mopsa‚ hilariously delivered by tenor Burt and bass Foster-Williams'

Il ritorno d’Ulisse in patria‚ Salle Pleyel Paris
ConcertoNet.com (May 2009)


'...and of Robert Burt‚ who sings the role of Irus‚ raw‚ thick and rude‚ with a dramatic quality worthy of the deepest praise'

Il ritorno d’Ulisse in patria‚ Teatro Real Madrid
ConcertoNet.com (April 2009)


'Robert Burt en Irus‚ rôle bouffe qu’il interprète à la perfection'

Giasone‚ Early Opera Company
Times (July 2008)


'..the supporting cast‚ among them an engaging drag act (Robert Burt’s majestic Delfa‚ a lusty maidservant oblivious to her own grossness) are uniformly excellent'

Bluebeard‚ Grange Park Opera
The Stage (June 2008)


'a superbly vain King Bobeche from Rob Burt'

Il Barbiere di Siviglia‚ Opera Holland Park
ClassicalSource.com (July 2007)


'Good support comes from...Robert Burt as Fiorello.'

Il ritorno d’Ulisse in patria‚ Les Arts Florisants (DVD)
www.gramophon (June 2007)


'Robert Burt nearly steals the show as the gluttonous Iro.'

Il Ritorno d’Ulisse‚ Chicago Opera Theater
Chicago Sun Times (March 2007)


'As the gluttonous and tragicomic Iro‚ Burt shows that Monteverdi was Shakespeare’s equal in the creation of truly comic characters.'

Il Ritorno d’Ulisse‚ Chicago Opera Theater
Opera News (March 2007)


'Robert Burt was compelling in the emotional instability of Iro’s bravura suicide solo'

King‚ Canterbury Cathedral
Opera Now (September 2006)


'...Robert Burt’s hot-headed‚ high-pressure tenor for the passionate unstable monarch'

Il ritorno d’Ulisse in patria‚ Les Arts Florisants (DVD)
BBC Music Magazine (June 2004)


'The direction is fluid and allows skilled actors (such as Robert Burt who plays Iro) to milk the audience a little.'

Il Ritorno d’Ulisse in Patria‚ Festival d’Aix-in-Provence
Salzburger Nachrichten (June 2002)


'Einen großen Auftritt als Komiker hatte Robert Burt als philosophierender Vielfraß Iro - Komik und Ernst sind immer nah beienander in dieser bezaubernden Produktion‚ die im Programm der dieser Festwochen schon jetzt einen Spitzenplatz reklamieren darf.'

Il Ritorno d’Ulisse in Patria‚ Les Arts Florissants
Opera (May 2002)


'Robert Burt a deftly comic Irus.'

Il Ritorno d’Ulisse in Patria‚ Les Arts Florissants
New York Times (April 2002)


'Particularly striking in the cast...Robert Burt as Iro.'

Il Ritorno d’Ulisse in Patria‚ Les Arts Florissants
New York Times (April 2002)


'The singers in smaller roles contributed importantly as well. Among them...Robert Burt’s broadly comic rendering of Iro.'

Il Ritorno d’Ulisse in Patria‚ Les Arts Florissants
Guardian (March 2002)


'Robert Burt hilariously brought Irus’s hunger aria at the beginning of the third act close to being the evening’s highlight.'

Il Ritorno d’Ulisse in Patria‚ Les Arts Florissants
Sunday Telegraph (March 2002)


'The glutton Iro was a ripely comic portrayal by Robert Burt.'

Il Ritorno d’Ulisse in Patria‚ Les Arts Florissants
Times (March 2002)


'Acres more outstanding singing...Robert Burt‚ who has been a member of Trevor Nunn’s ensemble at the National Theatre‚ as the glutton Irus.'

Il Ritorno d’Ulisse in Patria‚ Festival d’Aix-in-Provence
24 Heures (February 2002)


'Robert Burt en Iro‚ le parasite goinfre et patapouf des prétendants‚ fait un numéro comique irréstible.'

Erismena‚ Opera Theatre Company
Irish Times (October 2001)


'Robert burt’s pantomime-camp Flerida was not only the most alert of characterisations but showed a fluidity of inflection with word and music that was elsewhere in too short a supply.'

Erismena‚ Opera Theatre Company
Times (October 2001)


'All were upstaged by the obligatory comedy-nurse turn - a panto-dame trouser role - of tenor Robert Burt.'