Henry Neill’s current and future engagements include GUGLIELMO Cosi fan tutte Opera North; SAM Trouble in Tahiti/JUNIOR A Quiet Place Linbury Theatre at Royal Opera House, LANDSKNECHT 2 Schwanda der Dudelsackpfeifer Theater an der Wien, LESCAUT Manon and COUNT Le Nozze di Figaro Theater Aachen, Eötvös’ The Golden Dragon Theater Fribourg, FIORELLO Il barbiere di Siviglia Opéra National de Lorraine and NED KEENE cover Peter Grimes Royal Opera House, Covent Garden.
In the 2018-2019 season, he was a member of the Deutsches Nationaltheater Weimar, where roles included PAPAGENO Die Zauberflöte, FIGARO and COUNT Le nozze di Figaro, GUGLIELMO Cosi fan tutte, MASETTO Don Giovanni, SILVANO Un Ballo in Maschera, ANGELOTTI Tosca and FREDDY My Fair Lady.
Past guest engagements were SCHAUNARD La bohème Opera North, PAPAGENO Opera på Skäret in Sweden, FIORELLO Il barbiere di Siviglia Opéra National de Lorraine, EDMUND BERTRAM in Jonathan Dove’s Mansfield Park The Grange Festival, NOAH Russell Hepplewhite’s Silver Electra English Touring Opera, Spontini’s Agnes Von Hohenstaufen Theater Erfurt, COUNT Le Nozze di Figaro at Hackney Empire conducted by Jane Glover, FRIQUET Offenbach’s Vert-Vert Garsington Opera (David Parry) and recitals with pianist Somi Kim Wigmore Hall and International Holland Music Festival.
Notable concert performances include Ralph Vaughan Williams’ Serenade to Music Birmingham Symphony Orchestra, appearances on BBC Radio 3‘s In Tune, at the Oxford Lieder Festival, the Leeds Lieder Festival and on Dutch Radio 4.
Henry won several singing competitions and graduated from the Royal Academy of Music, where he studied with Mark Wildman, Ingrid Surgenor, Jane Glover and Iain Ledingham.
Margaret Levine
Phone: +44 7788 564195
Email: margaret@atholestill.co.uk
Representation: Worldwide
News | Henry Neill
News | Henry Neill
"Fabulously charismatic."
Royal Overseas League
"His singing had a grandeur and class of it's own."
Bach Track
"Für den erkrankten (...) verkörperte Henry Neill die Rolle des Grafen Almaviva und überzeugte schauspielerisch und sängerisch auf der ganzen Linie. Ihm gelingt es ganz wunderbar, die unterschiedlichsten Gefühle von Eifersucht, Wut, Zweifel oder auch Beschämung stimmlich zu gestalten. Sein "Contessa, perdono" ertönt wirklich so flehentlich, dass Rosinas Vergebung der moralischen Fehltritte ihres Mannes glaubhaft erscheint."
Der Opernfreund