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  Bass-Baritones: Matthew Hargreaves - Reviews
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La Traviata‚ West Green House Opera
Opera Magazine (October 2016)


'Each of the supporting roles was a vivid cameo... Matthew Hargreaves as a pompous Douphol...'

La Traviata‚ West Green House Opera
BachTrack.com (July 2016)


'Matthew Hargreaves’ Baron Douphol was an unpleasant piece of work‚ stalking around the stage with a cane in a manner that suggested it was used as much on flesh as on the ground. Were it not for an apt injection of spite‚ Hargreaves’ elegant bass-baritone would have been almost too cleanly sung for the character.'

Le nozze di Figaro‚ Les Azuriales Festival
Opera (December 2015)


'Hargreaves was also in Figaro (Count Almaviva)‚ as a rather more dignified than lecherous figure‚ and again‚ as in Lucia‚ stylishly sung'

Lucia di Lammermoor‚ Les Azuriales Festival
Opera (December 2015)


'Matthew Hargreaves was an impressive Raimondo‚ thunderous in promising God’s reward for Lucia’s abandonment of her vows to Edgardo'

Biedermann and the Arsonists‚ Independent Opera at Sadler’s Wells Theatre
Financial Times (November 2015)


'But it’s in the passages of eerie stillness that the cast has a chance to shine. Leigh Melrose and Matthew Hargreaves combine charm and menace as the arsonists'

Biedermann and the Arsonists‚ Independent Opera at Sadler’s Wells Theatre
Seen & Heard International (November 2015)


'The singing was wonderful throughout...Leigh Melrose (in a well-muscled ‘fat suit’) and Matthew Hargreaves relished their roles as Schmitz and Eisenring‚ the arsonists; these are tricky – somewhat cartoonish – roles to get right and their performances‚ both vocally and dramatically‚ had a subtle nuance which allowed their evil intent to unwind slowly and believably naturally'

Biedermann and the Arsonists‚ Independent Opera at Sadler’s Wells Theatre
The Stage (November 2015)


'...the only ones with any clue or plan are the double-act arsonists Schmitz (a former wrestler) and Eisenring (a former waiter‚ recently out of jail). Sung respectively by Leigh Melrose and Matthew Hargreaves‚ they make a stunning contribution...'

Biedermann and the Arsonists‚ Independent Opera at Sadler’s Wells Theatre
What’sOnStage.com (November 2015)


'...while Matthew Hargreaves’s straight-man Eisenring is just too nice. It goes without saying that both these seasoned professionals deliver consummate vocal performances'

Swanhunter‚ Opera North & The Wrong Crowd‚ Linbury Theatre
Opera (June 2015)


'They did so with considerable imagination‚ with striking contributions from...Matthew Hargreaves’s grandly-voiced Death'

Swanhunter‚ Opera North & The Wrong Crowd
Guardian (April 2015)


'Matthew Hargreaves terrifying as Death'

Swanhunter‚ Opera North & The Wrong Crowd
Observer on Sunday (April 2015)


'The six singers‚ doubling as puppeteers‚ and six instrumentalists‚ conducted by Justin Doyle‚ dazzled'

Swanhunter‚ Opera North & The Wrong Crowd
Seen & Heard International (April 2015)


'Matthew Hargreaves...was an imposing Death'

Swanhunter‚ Opera North & The Wrong Crowd
The Times (April 2015)


'Good performances come from all the six-strong cast‚ singing multiple roles with verve‚ but particularly from Adrian Dwyer as Lemminkäinen and a suitably sepulchral-voiced Matthew Hargreaves as Death'

Swanhunter‚ Opera North & The Wrong Crowd
What’s On Stage.com (April 2015)


'Indeed‚ everyone in the six-strong cast transcends the flat production. Adrian Dwyer does sterling work in the title role‚ while Rebecca Afonwy-Jones‚ Christopher Diffey and Matthew Hargreaves sing‚ act and manipulate puppets with aplomb'

Don Giovanni‚ Diva Opera
La Presse de la Manche (March 2015)


'Le couple Don Giovanni/Leporello fonctionnait tres bien‚ avec un Don Giovanni bien posé dans son rôle de séducteur prêt à tout et un Leporello à la fois drôle‚ soumis et couard. Tous donnent à ce dramma giocoso (drame joyeux) une grande profondeur /// The couple Don Giovanni / Leporello worked very well together‚ with Don Giovanni well posed in his role of seducer ready for anything and Leporello both funny‚ submissive and cowardly. All give this dramma giocoso (joyful drama) great depth'

Petit Messe Solonelle‚ BBC Singers (Live on BBC Radio 3)
Guardian (February 2014)


'Each of the soloists contributed something special...Matthew Hargreaves’ lyrical bass-baritone ranged confidently from the top to the bottom of his part'

Rigoletto‚ London Symphony Orchestra‚ Barbican
Classical Source.com (September 2013)


'The smaller roles were just as strong'

Rigoletto‚ London Symphony Orchestra‚ Barbican
Guardian (September 2013)


'...the smaller roles were consistently well taken'

Rigoletto‚ London Symphony Orchestra‚ Barbican
What’s on Stage (September 2013)


'...some really excellent supporting singers...this was a really superb evening'

La Finta Giardiniera‚ Buxton Festival
Planet Hugill (July 2013)


'Matthew Hargreaves was a in complete command as the comic servant...'

London Song & Wagner200 Festival‚ St Paul’s Church‚ Covent Garden
London Evening Standard (May 2013)


'Matthew Hargreaves found ample drama even in the most intimate pieces...genuine Wagnerian weight'

Don Giovanni‚ Opera North
ChronicleLive (November 2012)


'Matthew Hargreaves is funny‚ a physical maestro as Leporello‚ Don Giovanni’s servant‚ and the comic double act of him and William Dalzeley as Don Giovanni is wicked...'

The Makropulos Case‚ Opera North
Arts Desk.com (October 2012)


'There’s some sweet‚ low-key comedy between Sarah Pring and Matthew Hargreaves as two backstage staff at the opera house where Marty is performing'

Idomeneo‚ Grange Park Opera
Opera (August 2012)


'Matthew Hargreaves’s sonorous Neptune...'

The Makropulos Case‚ Opera North
Scotsman (August 2012)


'...the best moment a charming interlude between cleaner Sarah Pring and a technician Matthew Hargreaves'

The Makropulos Case‚ Opera North
The Opera Critic.com (August 2012)


'Technician Matthew Hargreaves and Cleaner Sarah Pring enjoy their vignette at the start of Act 2'

Idomeneo‚ Grange Park Opera
Financial Times (June 2012)


'The only sign of an interpreter’s imagination comes with his casting of Neptune. Usually a disembodied voice‚ the god of the sea here becomes a visible manipulator of the drama‚ his supernatural force represented by the way he smashes through the white-walled set at the end of Act Two and later retires into the ether‚ job and justice done – the evening’s only dramatic stage pictures. The charismatic Matthew Hargreaves validates the role’s extra prominence'

Idomeneo‚ Grange Park Opera
Oxford Times (June 2012)


'...Neptune himself‚ in the towering presence of bass Matthew Hargreaves'

Tosca‚ Kensington Symphony Orchestra
Classical Source.com (May 2012)


'Matthew Hargreaves had great success with the desperate‚ driven Angelotti'

Tosca‚ English National Opera
Opera (January 2012)


'The resonant bass of Matthew Hargreaves as the fugitive Angelotti cranked up the tension from the very begining'

Tosca‚ English National Opera
Bachtrack.com (November 2011)


'The part of Angelotti is the smallest in the quartet‚ but Matthew Hargreaves made more out of it than most‚ with a clear‚ urgent voice and his slim frame well suited to the character of the gaunt‚ starving prisoner'

Tosca‚ English National Opera
Seen & Heard International (November 2011)


'Henry Waddington (Sacristan)‚ Matthew Hargreaves (Angelotti)‚ Scott Davies (Spoletta) were outstanding in their smaller roles'

Le nozze di Figaro‚ Opera Holland Park
Classical Source.com (July 2011)


'...incisive definition to the timbre...He plays the marriageable servant with energy and an unexpected swagger – here cutting a dash‚ there dashing about like a seasoned farceur'

Le nozze di Figaro‚ Opera Holland Park
Independent on Sunday (July 2011)


'Matthew Hargreaves’s urbane Figaro'

Le nozze di Figaro‚ Opera Holland Park
MusicOMH.com (July 2011)


'...Figaro also comes into his own with some stirring singing'

Le nozze di Figaro‚ Opera Holland Park
Opera-Britannia.com (July 2011)


'...a quality performance. Tall‚ slim‚ elegant and sexy in a quintessentially English way‚ his engaging portrayal was entirely in keeping with the 1920s stately home setting‚ his love for Susanna convincing and the sense of fun he displayed when trying to protect the Countess‚ Susanna and even Cherubino from the wrath of the Count was quite skittish. He has a perfectly serviceable bass-baritone voice and at times his stage presence reminded me of a young James Stewart – a subtle but definite star quality'