Peter Rose

Bass

Management: Australasia

Turandot  Seattle Opera
“Peter Rose sang Timur with beautiful, rock-solid tone, while depicting the frailty of age with almost painful intensity.”
The Seattle Times August 2012

Capriccio  The Metropolitan Opera
“The impresario La Roche (the resonant British bass Peter Rose) points out that neither words nor music are worth squat without his sense of stagecraft.”
The Gazette April 2011

Semele, Théâtre des Champs Elysees, Paris
“Foremost among them was Peter Rose. Though surely among the most versitile of modern basses—in the past two months, he has sung Osmin in München, Ochs in Barcelona, Gurnemanz in Tokyo, and Falstaff in Seattle—Rose is hardly known as a Baroque specialist. Yet his Cadmus/Somnus was stylish and sonorous, underpinned by rock-solid lower register. At the end of Somnus’s “Leave me, loathsome light,” he interpolated down an octave to a long B1 (at Baroque pitch that’s almost a low b-flat). Resounding through the large theater like an organ pedal, it was one of the most astonishing notes I have heard in decades. Such vocal details were consistently accompanied by clear diction, convincing characterization, and sensitive phrasing.”
Opera Today July 2010

Der Rosenkavalier  Deutsche Oper Berlin
“Equally convincing was Peter Rose as Ochs - I seriously doubt if there are any better interpreters of this part today: He has the most wonderful low notes, a steady voice in the entire range, and again, a great talent for comic acting. He is funny, but never exaggerates into the ridiculous, making this Ochs a believable character, and not just a parody.”
Mostly Opera March 2008

Parsifal, Wiener Staatsoper
“The evening's discovery was the debut of Peter Rose as Gurnemanz: If you did not know he is English, you would never have guessed it. His German, a magnifying glass, was more intelligible than that of a "real" German. His capable, controlled bass, brightly coloured and with beautiful modulation, was created for Wagner.”
Der Merker April 2007

Peter Rose made his operatic debut in 1986 with Glyndebourne Festival Opera in Hong Kong as Commendatore in Don Giovanni.

His repertoire includes Bottom (Aix-en-Provence, Paris, London, Rome, Metropolitan Opera New York, Barcelona, Glyndebourne, Chicago); Gurnemanz (Vienna, Hamburg, Graz, Tokyo); Mustafa L'Italiana in Algeri (Amsterdam, Dresden); Pogner (Hamburg); Hunding (Deutsche Staatsoper Berlin, Hamburg); Phillip (Cologne, Deutsche Staatsoper Berlin, Hamburg); Kecal (Covent Garden, Chicago); Basilio (San Francisco, Covent Garden, Deutsche Staatsoper Berlin, Hamburg, Metropolitan Opera); King Marke (Covent Garden, Hamburg, Deutsche Oper Berlin, Cologne, Vienna); Osmin Die Entführung aus dem Serail (Salzburg, Hamburg, Munich, Istanbul, Sydney, San Francisco, Geneva); Leporello (Cologne); Rocco Fidelio (Vienna Staatsoper, Theater an der Wien, Komische Oper Berlin, Bregenz); Claggart (Cologne, Vienna, Hamburg, Munich, Santa Fe); Ramfis (Metropolitan Opera, Covent Garden, Deutsche Staatsoper Berlin); Walter Luisa Miller (Amsterdam); Daland (Covent Garden, Metropolitan Opera, Munich, Bordeaux,Budapest); Zaccharia (Dallas); Vodnik Rusalka (Seattle); Ochs (Scottish Opera, Vienna, Deutsche Oper and Deutsche Staatsoper, Berlin, Hamburg, La Scala, Milan, Barcelona, Sydney, Melbourne, Tokyo, Minneapolis, Seattle, Metropolitan Opera, New York, Graz, Amsterdam, Dresden, Baden-Baden, Royal Opera House, Covent Garden); Boris Godunov, Silva  and Sparafucile (English National Opera); La Roche (Metropolitan Opera, Paris Opera, Chicago, Covent Garden); Somnus (Paris – Champs Elysees, Covent Garden); Don Alfonso (Dijon Opera); Mephistopheles in Gounod’s Faust (Hamburg);Falstaff (Seattle); Fasolt (Covent Garden, Vienna)

Concert engagements include Beethoven’s Symphony No.9 with Giulini and Barenboim; Mozart’s Requiem with Mackerras, Barenboim, Mehta, Maazel, Shaw and Jurowski; Mahler 8 with Tilson Thomas; Verdi Requiem with Rizzi; La damnation de Faust with the Chicago Symphony Orchestra and Solti; Ravel L'enfant et les sortileges and L'heure espagnole with the Cleveland Orchestra and Boulez; and Beethoven’s Missa Solemnis with the New York Philharmonic and Masur.

Recordings include Le nozze di Figaro with Barenboim and the Berlin Philharmonic; Salome with the Vienna Philharmonic Orchestra and von Dohnanyi; Un ballo in Maschera with Rizzi; The Barber of Seville, Tosca, Lucia, Ernani, Aida and Bartered Bride for Chandos; Die Entführung aus dem Serail with Mackerras; The Dream of Gerontius with the City of Birmingham Symphony Orchestra and Oramo; L’enfance du Christ with the London Symphony Orchestra and Sir Colin Davis; and A Midsummer Night’s Dream for Virgin-Classics (DVD)

Engagements this season include Daland for the Deutsche Staatsoper, Bayerische Staatsoper, and in his debut at the Bayreuth Festival; Ochs for the Wiener Staatsoper and Opéra National De Paris; and Bach’s St Matthew Passion with the Rotterdam Philharmonic. Further future engagements include the four villans Les contes d’Hoffmann for the Semperoper Dresden, concerts with the Houston and Cleveland Symphony and London Philharmonic Orchestras and returns to the Netherlands Opera, Bayerische Staatsoper and Festspielhaus Baden-Baden. 

Peter Rose is managed by Graham Pushee: graham@artsmanagement.com.au
February 2016
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