Tom Randle

Tenor

Biography

Tom Randle began early studies in conducting and composition, but a scholarship to study voice soon meant a change in career direction. He made his début with the English National Opera as Tamino in The Magic Flute and has repeated the role with great success at Deutsche Oper Berlin, Glyndebourne Festival Opera, Hamburg, New Zealand and the Covent Garden Festival, swiftly followed by his Royal Opera House debut in 1994 as Essex (Gloriana) with Phyllida Lloyd and Opera North, a production later released as a feature film for BBC Television. He made his Royal Opera debut in 1997 as Johnny Inkslinger (Paul Bunyan) and has since sung Fool (Gawain) and Macheath (The Beggar’s Opera) for The Royal Opera, and Song of the Earth for The Royal Ballet. Well known for his vivid and committed stage portrayals and a unique ability to embrace a wide variety of repertoire, Tom has emerged as one of the most exciting and versatile artists of his generation.

His roles have included Tom Rakewell (The Rake’s Progress) for the Théâtre des Champs-Elysees, Netherlands Opera, Lausanne and Bordeaux, Benedict (Beatrice and Benedict) for Welsh National Opera, Ferrando (Cosi fan tutte) for Geneva and Brussels Operas, Don Ottavio (Don Giovanni) for Munich and Los Angeles Operas, the title role in Idomeneo for Scottish Opera and La Monnaie, Brussels, Achilles (King Priam) for ENO and Nederlandse Reisopera, Alfredo (La Traviata) for Opera North, the title role in Hasse’s Solimano at the Innsbruck Festival and Staatsoper Berlin, Števa (Jenůfa) for ENO and Opéra de Lille, the title role in Orlando Paladino with René Jacobs at the Staatsoper Berlin and the Innsbruck Festival, Jack (Wuorinen’s Brokeback Mountain) and Admète (Alceste) for Teatro Real, Maler/Neger (Lulu) at La Monnaie, Brussels, Hauptmann (Wozzeck) for the ENO, La Monnaie, Brussels, and the BBC Scottish Symphony Orchestra, Gabriel von Eisenstein (Die Fledermaus) at the ENO, Aegisth (Elektra) for Berlin Staatsoper, Aix-en-Provence, and Teatro alla Scala, Narrator (Owen Wingrave) at the Théâtre du Capitole in Toulouse, Snaut (Fujikora’s Solaris) at the Théâtre des Champs-Élysées, Opera de Lille, and the Opera de Lausanne, Pelléas (Pelléas et Mélisande)  in Paris and London, Gerald (Lakmé) in Australia, Joe (Carmen Jones) in Washington, the title role in Peter Grimes in Antwerp, Das Rheingold and Orfeo at the ENO and for the Handel and Haydn Society in Boston, Die Soldaten with the Teatro Colon, Katya Kabanova and Khovanshchina at WNO, Death of Klinghoffer in Rotterdam, Tamerlano at Scottish Opera, The Fairy Queen in Aix-en-Provence, Henze’s Bassarides and Messiaen’s St François d’Asisse in Amsterdam, and The Beggar’s Opera at the ROH’s Linbury Theatre.

Last season saw Randle reprise the role of Aegisth (Elektra) for the Gran Teatre del Liceu, sing Don José (Carmen) for NBR New Zealand Opera, and perform the Le vin herbe oratorium with the Welsh National Opera. Engagements for the 2017-18 season include Malatestino dall’Occhio (Francesca da Rimini) for Opéra National du Rhin, and Beethoven’s 9th Symphony for the Handel and Haydn Society, Boston.

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Reviews

“Tom Randle’s Ulysses is a masterpiece of intelligent acting and focused singing. (ENO/Young Vic, The Return of Ulysses)”

George Hall

The Stage

“Tenor soloist Tom Randle created a sense of urgency with his powerful and beautiful voice, especially when he cut above the chorus in “Nobody knows the trouble I see, Lord.” […] Tenor Tom Randle excelled in the Quoniam, and his performance included impressively holding a note for an extra-long time.”

James Bash

Oregon Music News

Caught between overwhelming passion and chivalric duty, Tristan and Iseult – sublimely sung by Tom Randle and Caitlin Hulcup – can neither live nor die without the other. Their struggle is at once liminal and physical; grounded in designer April Dalton’s matt black innards of a set, it and they are exposed in lighting now starkly monochrome, now lustrous with sudden colour.

Steph Power

The Independent

More Reviews

“Randle’s lean, focused tenor gained in strength and ardency as it ascended. […] The standout soloists were […] and Randle, partnered by Allan Vogel’s lovely oboe obbligato. […] Randle is a veteran still in his prime who appears on several opera DVDs: his Bajazet, the tragic father in Handel’s “Tamerlano,” and his Molqi, the lead terrorist in Adams’ “Death of Klinghoffer,” are unforgettable. ”

A Child of our Time, Oregon Bach Festival – Mark Mandel, Oregon Live 

“Steven Sloane conducts with utmost precision, and fine performances come from […] Tom Randle (a a vocally powerful DiMaggio) […].”

Waiting for Miss Monroe, Netherlands Opera – George Loomis, The New York Times 

“Tom Randle is an outstanding Ulysses in this production. His strong, clear tenor voice has just the right amount of warmth for the role… ”

William Harston – Express 

“…the role of the damaged returning soldier is one to which tenor Tom Randle brings all his considerable magnetism and experience.”

Erica Jeal – The Guardian 

“Tom Randle gives a full-frontal portrayal of a soldier emotionally scarred by war and…makes every word tell.”

Richard Fairman – Financial Times