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Born in Manchester, Clive Bayley sings regularly with the major opera companies in a diverse repertoire spanning Monteverdi, Mozart, Verdi, Puccini, Alban Berg, Benjamin Britten, Birtwistle, Richard Wagner and Ligeti. Clive continues to showcase his operatic repertoire in the coming 2015/16 season with Glyndebourne Touring Opera’s production of Die Entführung aus dem Serail and subsequently returns to Grange Park Opera in 2016 as Filippo II in Don Carlos and König Marke in Tristan und Isolde.  Past season saw Clive performing as Gesler in Guillaume Tell with the Welsh National Opera, Commendatore in Bergen opera’s production of Don Giovanni, and a recording of Gaetano Donizetti’s Les Martyrs with Opera Rara and the Orchestra of the Age of Enlightenment in which Clive sung the role of Callisthènes. Previous operatic engagements include Claggart in Billy Budd at the Gothenburg Opera and Der Fliegende Holländer at the Royal Danish Theatre, in which he performed the role of Daland.  At the beginning of 2014, Clive made his debut at the Metropolitan Opera in New York, where he sang the role of the Doctor in Wozzeck. Clive has also appeared in roles such

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Born in Manchester, Clive Bayley sings regularly with the major opera companies in a diverse repertoire spanning Monteverdi, Mozart, Verdi, Puccini, Alban Berg, Benjamin Britten, Birtwistle, Richard Wagner and Ligeti.
Clive continues to showcase his operatic repertoire in the coming 2015/16 season with Glyndebourne Touring Opera’s production of Die Entführung aus dem Serail and subsequently returns to Grange Park Opera in 2016 as Filippo II in Don Carlos and König Marke in Tristan und Isolde.  Past season saw Clive performing as Gesler in Guillaume Tell with the Welsh National Opera, Commendatore in Bergen opera’s production of Don Giovanni, and a recording of Gaetano Donizetti’s Les Martyrs with Opera Rara and the Orchestra of the Age of Enlightenment in which Clive sung the role of Callisthènes.

Previous operatic engagements include Claggart in Billy Budd at the Gothenburg Opera and Der Fliegende Holländer at the Royal Danish Theatre, in which he performed the role of Daland.  At the beginning of 2014, Clive made his debut at the Metropolitan Opera in New York, where he sang the role of the Doctor in Wozzeck. Clive has also appeared in roles such Astramados in Le Grand Macabre in San Francisco, Don Quichotte at Grange Park Opera, Sir Walter Raleigh in Benjamin Britten’s Gloriana, at both the Hamburg Opera and the Royal Opera House and as Prince Gremin in Onegin at Grange Park Opera. His appearances include such roles as Kecal in The Bartered Bride, Bluebeard in Duke Bleabeard’s Castle, Rocco in Fidelio and König Marke in Tristan und Isolde.

Collaborations with prestigious opera houses include: Arkel Pelléas et Mélisande, Ulisse, Titurel Parsifal, Sylvano La Calisto, Geronte Manon Lescaut and Achilla Giulio Cesare at the Bayresche Staatsoper. With the Opera National du Rhin, Strasbourg, he has sung Fasolt in David McVicar’s new production of Das Rheingold and Claggart in Richard Jones’s production of Billy Budd at Frankfurt Opera
In his native country Clive made his debut with the Royal Opera, Covent Garden, as 2nd Prisoner Fidelioand has since appeared there in the world-premiere of Harrison Birtwistle's Gawain, as Biterolf Tannhäuser, Colline La Bohème, Hans Foltz Die Meistersinger, Carbon in Alfano’s Cyrano de Bergerac, Thoas Iphigénie en Tauride, Sylvano La Calisto and Hunding Die Walküre. He also works regularly with the Glyndebourne, Grange Park Opera, Opera North and Welsh National Opera.

His past recordings for Chandos include Beethoven’s Symphony No.9 with the English Northern Philaharmonia and the City of Birmingham Symphony Orchestra; Hunding Die Walküre and the Grand Inquisitor in the “Study Scene” from Don Carlos with the Hallé Orchestra under Mark Elder.

Sept 2015

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Photos

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Reviews

"Clive Bayley is the four villains, demonstrating once again that he is a versatile and imposing a bass as any in the world at present."

The Tales of Hoffmann, Michael Tanner, The Specator

"In resplendent voice, Clive Bayley shines an interpretative light deep into the murky soul of Filippo II,"

Don Carlo - The Grange Park Opera, George Hall - The Guardian

"Clive Bayley's intense, commanding bass, took complete control of the stage and, indeed, of the audience."

Don Carlo - The Grange Park Opera, David Karlin

"In Clive Bayley’s superb characterization and singing, we felt not so much sympathy as awe – even in the more touching phrases of ‘Ella giammai m’amo’ (She has no love for me) we were always aware of the steely yet conflicted tyrant."

Dona Carlo - The Grange Park Opera, Melanie Eskenazi - MusicOMH

"The British bass Clive Bayley made an auspicious Met debut as the Doctor, who enlists Wozzeck as a guinea pig for preposterous medical experiments. Mr. Bayley brings a robust voice and a maniacal gaze to this sneering quack."

The Nearby Wozzeck Changes His Address - Anthony Tommasini, New York Times

"Bayley’s incisively craggy delivery conveyed wonderfully the crazed anguish of Judas‘ undoing and his descent into eternal darkness – “I am unto myself more grievous than the darkness” – revealed Elgar at his most innately dramatic."

Elgar: "The Apostles", BBC Proms - Edward Seckerson

"Daland is suavely sung by the always impressive Clive Bayley "

ENO, The Flying Dutchman - Colin Anderson, The Opera Critic

"…it was an evening for male singing. Clive Bayley sang the best I have heard him as Daland."

ENO, The Flying Dutchman - Colin Clarke, Seen & Heard International

"Clive Bayley (Daland) [is] superb."

ENO, The Flying Dutchman - Warwick Thompson, Bloomberg Business Week

"Clive Bayley is a fine Daland..."

ENO, The Flying Dutchman - Barry Millington, London Evening Standard

"Clive Bayley brings exemplary musicality and diction to his portrayal of Daland, highlighting the character's mercantile nature."

ENO, The Flying Dutchman - Christian Hoskins, musicomh.com

"As Daland, Clive Bayley combines a voice of particular strength and sweetness with a witty and studied stage presence. His diction is remarkably crisp without ever appearing intrusive, and he is persuasive both as loving father and venal businessman."

ENO, The Flying Dutchman - Sarah Perry, Exuent Magazine

"Clive Bayley explores Senta’s father Daland’s greed in a bass that grows ever more impressive."

ENO, The Flying Dutchman - George Hall, The Stage

"Senta did more than convincingly suggest the plain girl dreamer socially stifled by a selfish and overly protective father, Daland (the excellent Clive Bayley)."

ENO, The Flying Dutchman - Edward Seckerson, The Independent

"Clive Bayley ....one can luxuriate in not only the sound but the articulation of the delivery."

ENO, The Flying Dutchman - Frame Scourer

"Clive Bayley, a black-voiced bass, is outstanding vocally and dramatically as the four villains."

The Tales of Hoffman, ENO - Tully Potter, Daily Mail

"Bayley is no less versatile as the roué Lindorf, a shambling Coppelius, a Bela Lugosi-style Dr Miracle and a showman-prestidigitator Dappertutto, singing his famous Diamond aria in velvety, saturnine tones "

The Tales of Hoffman, Hugh Cunning – The Sunday Times

"Bayley showed his merit by turning in a thrillingly creepy performance as Dr. Miracle. […] Clive Bayley gave a performance of a lifetime as the four villains, turning in a radically different character in each act; but also singing the role quite fabulously. If the higher lying passages were a strain for him, he didn't show it. I don't think I have heard this singer do anything better. "

The Tales of Hoffman, Robert Hugill – Planet Hugill Classical Music

"This was a world class performance, clear, smooth, emotional and velvety... If you see his name on a cast list anywhere, go to the performance. Even if it is an opera you dislike, simply to hear him."

Tristan und Isolde, Grange Park, Hampshire. The Wagnerian.

"Clive Bayley is a powerful Hunding, with a more jet-black voice than any contemporary German bass."

Michael Tanner, The Spectator

"In Clive Bayley’s superb characterization and singing, we felt not so much sympathy as awe – even in the more touching phrases of ‘Ella giammai m’amo’ (She has no love for me) we were always aware of the steely yet conflicted tyrant."

Dona Carlo - The Grange Park Opera, Melanie Eskenazi - MusicOMH

"In Clive Bayley’s superb characterization and singing, we felt not so much sympathy as awe – even in the more touching phrases of ‘Ella giammai m’amo’ (She has no love for me) we were always aware of the steely yet conflicted tyrant."

Dona Carlo - The Grange Park Opera, Melanie Eskenazi - MusicOMH

"In recent outings, Dr Bartolo has shamelessly stolen the show. This time that honour fell to Clive Bayley whose Don Basilio – pigtail reaching below his backside – was expertly judged, an out-and-out caricature, but never overplayed."

The Barber of Seville - WNO - Rian Evans, The Guardian

"Clive Bayley's intense, commanding bass, tookcomplete control of the stage and, indeed, of the audience."

Don Carlo - The Grange Park Opera, David Karlin

"Clive Bayley's intense, commanding bass, took complete control of the stage and, indeed, of the audience."

Don Carlo - The Grange Park Opera, David Karlin

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Discography

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Repertoire

Berg Wozzeck Doctor Chandos

Bernstein Candide (Conductor Bernstein) Various roles Deutsche Grammophon

Berkeley Baa Baa Blacksheep Bagheera Collins

Britten Billy Budd Dansker Chandos

Donizetti Don Pasquale Notary Chandos

Landl Il St. Alessio Demonio Erato

Monteverdi Vespers Bass 2 Erato

Mozart Don GiovanniIdomeneo Commendatore Voice of Neptune Chandos

Mussorgsky Boris Godunov Varlaam’s aria Chandos

Puccini Madama ButterflyTurandot BonzeTimur Chandos

Verdi FalstaffIl Trovatore PistolFerrando Chandos

Walton Troilus & Cressida Calkas Chandos

Various Dennis O’Neill Recital Disc

Giappone in La Romanzesca e l’Uomo Nero Opera Rara