George Humphreys’ was an unfailing delight with a warm smooth baritone that had an easy seductive quality to it; his stage manner was endearing and with a handsome frame encased in a long black and gold outfit straight out of ITV’s Victoria, he looked the part.
- Bachtrack (La Calisto, Hackney Empire, 2016) -
George Humphreys is one of the most exciting and versatile baritones of his generation and is equally at home on the concert, opera and recital stages.
In the 2017-18 season Mr. Humphreys joins the ensemble of the Landestheater Salzburg, where his roles include the Villains in a new Alexandra Liedtke production of Offenbach’s The Tales of Hoffmann conducted by Adrian Kelly, Kreon in Stravinsky’s Oedipus Rex as part of the Dionysien production in Salzburg’s Felsenreitschule directed by Carl Philip von Maldeghem and conducted by Dennis Russell Davies, and the Count in a new Jacopo Spirei production of Mozart’s Le nozze di Figaro conducted by Adrian Kelly. He ends the season in Salzburg as Marshall in Hindemith’s Cardillac directed by Amélie Niermeyer. Elsewhere, he debuts at Komische Oper Berlin as Cadmus in Barrie Kosky’s production of Händel’s Semele. As soloist he can be heard in Bach’s Christmas Oratorio during a concert tour through Australia with the Choir of London and the Australian Chamber Orchestra, as baritone soloist in Mahler’s Symphony No. 8 with the Swedish Radio Symphony Orchestra in Stockholm under Daniel Harding, as Christ in Bach’s St. Matthew Passion with the London Handel Festival under Laurence Cummings, as Aeneas in Purcell’s Dido and Aeneas with La Nuova Musica at Wigmore Hall, and in Mozart’s Coronation Mass with the Mozarteum Orchestra Salzburg on tour in Spain.
His 2016-17 season included singing Aeneas alongside Dame Ann Murray in Dido and Aeneas with David Bates’ La Nuova Musica at St Johns Smith Square in London, Giove in La Calisto and the St John Passion with English Touring Opera, and his role debut as Leporello in the Nederlandse Reisopera’s new production of Mozart’s Don Giovanni directed by Jo Davies and conducted by Julia Jones. He finished the season with his debut at the Aldeburgh Festival singing Demetrius in Britten’s A Midsummer Night’s Dream directed by Netia Jones and conducted by Ryan Wigglesworth. Concert engagements saw him return to the City of Birmingham Symphony Orchestra as soloist in Handel’s Messiah and the London Handel Festival for the St. Matthew Passion.
Mr. Humphreys opened the 2015-16 season singing Purcell and Britten´s Three Odes to St Cecilia with the Gabrieli Consort & Players and then returned to English National Opera singing the role of Pish-Tush in Arthur Sullivan´s The Mikado. He later debuted at Welsh National Opera as Lieutenant Jenkins in the world premiere of Iain Bell’s In Parenthesis with performances in Cardiff, Birmingham and at Royal Opera House Covent Garden. He could also be heard in recital at Opéra de Lille and in concert singing arias and duets of Mozart at Bridgewater Hall in Manchester and at the Royal Festival Hall with the Mozart Festival Orchestra, as well as performing with the Aurora Orchestra as soloist in Davies’ Eight Songs for a Mad King and on a tour through Spain with the Gabrieli Consort & Players performing Handel´s Messiah.
George Humphreys started the 2014-15 season with a return to the English National Opera in Puccini’s Fanciulla del West, singing the role of Jake Wallace and in La Bohème, singing Schaunard. He performed Handel’s Messiah with the Royal Scottish National Orchestra and the Orchestra of the Age of Enlightenment both under Laurence Cummings and also with the City of Birmingham Symphony Orchestra and Choir. He could be heard in concert singing the St Matthew Passion with the London Handel Festival, Purcell’s King Arthur with Early Opera Company under Christian Curnyn at Wigmore Hall and Handel’s Semele in the roles of Somnus and Cadmus at the London Handel Festival conducted by Laurence Cummings at Cadogan Hall. George Humphreys also performed Williams’ The Songs of Travel with the Collegium Musicum Basel. He finished the season singing Morales in Bizet’s Carmen at English National Opera and then covered the role of Tarquinius in The Rape of Lucretia at the Glyndebourne Festival.
Mr. Humphreys started the 2013-14 season with his Music Theatre Wales debut singing the Duke in the highly acclaimed production of Sciarrino’s The Killing Flower at the Buxton Festival with additional performances in Cardiff, Swansea, Llandudno, and at the Linbury Theatre at Covent Garden. The Killing Flower was rated a Top three Opera event in the UK in the year of 2013. George Humphreys went on an Australian tour with the Choir of London performing Bach’s Christmas Oratorio in the end of 2013. He also sang the role of Marullo in a new production of Verdi’s Rigoletto with English National Opera. He could be heard in concert singing Handel´s Messiah with the Malcolm Sargent Festival Choir, the Szymanowski and Rossini Stabat Mater with the Exeter Festival Chorus, the St. Matthew Passion with the London Handel Festival, and Brahm’s Requiem with the North London Chorus.
In 2012-13 he returned to English National Opera singing the role of Curio in Handel’s Julius Caesar conducted by Christian Curnyn. He could also be heard in London as soloist in the Fauré Requiem with the Orchestra and Chorus of the Royal Opera House Covent Garden under Barry Wordsworth in performance by the Royal Ballet. Concert performances included Christ in the St Matthew Passion in Bielefeld, Germany, and with the London Handel Festival; the oratorio Joseph and his Brethren with the Händel-Festspiele in Göttingen under Laurence Cummings; as well as Bach’s Cantate Nr. 9 with the Orchestra of the Age of Enlightenment and numerous other concerts.
Past highlights include Belcore in a new production of Donizetti’s L’elisir d’amore with the Landestheater in Bregenz – a role for which he was nominated for the best male second role at the Austrian Musictheatre awards (Der österreichische Musiktheaterpreis) – and his debut with the Teatro dell’Opera in Rome as Starveling in Britten’s A Midsummer Night’s Dream in a new production by Paul Curran, conducted by James Conlon. Acclaimed as a concert singer, his past engagements include appearances with the Bochum Symphony for Bach’s Christmas Oratorio and John Tavener’s God is with us under Harry Curtis, and the London Handel Festival for Bach’s St Matthew Passion under Laurence Cummings. He also performed Bach’s Magnificat with the Northern Sinfonia under Simon Halsey, the Messiah with the London Mozart Players, and the Fauré Requiem with the Liverpool Philharmonic.
George Humphreys is a graduate of the International Opera Studio at the Zurich Opera House, where he sang in studio, as well as main stage productions, including Fafner in The Ring for Children, Imperial Commissioner in Madama Butterfly and Leuthold in Guillaume Tell. In the 2010-11 season he made his debut as Aeneas in Dido and Aeneas with Opera Dijon, directed by Lilo Baur and conducted by Jonathan Cohen.
Other concert highlights include The Messiah with the Bochum Symphony, the City of Birmingham Symphony Orchestra and The Hanover Band, Mendelssohn’s Elijah in Singapore, Bach’s Christmas Magnificat and Cantata 36 with the English Concert in Valencia, Handel’s Joshua at the London Handel Festival, Bach’s B Minor Mass with Trevor Pinnock, and Handel’s L’Allegro under William Christie at the Spitalfields Festival and more recently at the Göttingen Handel Festival, as well as Herod in Berlioz’s L’Enfance du Christ under Sir Colin Davis. Mr. Humphreys has also performed Peter Maxwell Davies’ 8 Songs for a Mad King and Schoenberg’s Serenade under Diego Masson in the South Bank Festival. He is an avid recital performer with recent appearances in the Oxford Lieder Festival, with Opernhaus Zürich, and at the Wigmore Hall.
George Humphreys was born in Oxford and studied at St. John’s College, Cambridge and the Royal Academy of Music.
M: +49 (0)171 212 6728
I suspect that George Humphreys’s excellent Pish-tush – an Ostrich-like cleric with very wandering hands – is a tad more bisexual than the same character in 1986.
The Times (The Mikado, ENO, November 2015)
George Humphreys leiht seinen sonoren Bariton und seine imponierende Statur den dämonischen Kräften von Lindorf, Coppelius, Dappertutto und Mirakel.
Traunsteiner Tagblatt (Hoffmanns Erzählungen, Salzburger Landestheater, September 2017)
The dominant performance comes, as it should, from George Humphreys’s Duke, wonderfully convincing as the handsome sensualist whose passions gradually coalesce into obsession. He’s in superb command of Sciarrino’s elusive style, too.
The Guardian (The Killing Flower, Music Theatre Wales)