Tom Randle



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. 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.

Engagements have included Tom Rakewell for the Théâtre des Champs-Elysees, Netherlands Opera, Lausanne and Bordeaux, Benedict for WNO’s Beatrice and Benedict, Ferrando in Cosi fan tutte for Geneva and Brussels Operas, Don Ottavio in Munich and Los Angeles, Pelleas in Paris and London, Idomeneo for Scottish Opera and La Monnaie Brussels, Achilles in Tippett’s King Priam for ENO and the Reisopera, The Fairy Queen and Elektra in Aix-en-Provence, Gerald in Delibes’ Lakmé in Australia, Joe in Carmen Jones in Washington, La Traviata at Opera North, the title role in Hasse’s Solimano at the Innsbruck Festival and Staatsoper Berlin, Rheingold and Orfeo at ENO and for the Handel and Haydn Festival in Boston, Katya Kabanova and Khovanshchina at WNO, Death of Klinghoffer in Rotterdam,Tamerlano at Scottish Opera, Peter Grimes in Antwerp, Henze’s Bassarides and Messiaen’s St François d’Asisse in Amsterdam, and Wozzeck at La Monnaie.

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“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