Colin Judson




Colin Judson


British Citizenship

Making frequent featured role appearances with the Glyndebourne Festival, English National Opera, Covent Garden, as well as in France and Canada, Colin Judson has established himself as a noteworthy tenor. In the current season, he will be heard with the Berlin Philharmonic as the Gamekeeper in Rusalka, the Night Porter in Death in Venice at Covent Garden, as Basilio and Curzio in Le nozze di Figaro for English National Opera and in Garsington for Arbate in Mitridate and a reprise of Rusalka’s Gamekeeper for Garsington.  His schedule for 2018-2019 called for War and Peace with the Welsh National Opera, Priest of Amon in Akhnaten for English National Opera and The Gamekeeper in Rusalka at Glyndebourne. Colin began the 2017/18 season with Bob Boles in Peter Grimes for the Bergen Festival, followed by his North American debut as Laca in Jenufa with Pacific Opera Victoria, and Monostatos in Die Zauberflöte and Goro in Madama Butterfly both with Opéra de Toulon. Earlier in 2018, Colin made his company debut with Opéra de Montréal as Khruschev in JFK for Opéra de Montréal, sang Don Basilio in The Marriage of Figaro for English National Opera and the Night Porter in Death in Venice for the Royal Opera/Covent Garden. In the summer of 2018, he was at Garsington Opera for Dr. Cauis in Falstaff.

Colin’s 2016/17 season included Vogelgesang in Die Meistersinger and the Schoolmaster in The Cunning Little Vixen at the Glyndebourne Festival, Sellem in The Rake’s Progress in a co-production between Caen, Reims, Rouen, Limoges and Luxembourg, in addition to Kuzka in Khovanshchina with the BBC Symphony Orchestra under Semyon Bychkov at the BBC Proms.

Colin debuted at the Royal Opera House, Covent Garden as Pang (Turandot) and returned for Vogelgesang (Die Meistersinger – conducted by Pappano) and Monostatos in the David McVicar production of Die Zauberflöte. For the Glyndebourne Festival, his roles have included the Witch of Endor in Saul (Cummings) Squeak in Billy Budd (Elder), Vogelgesang in Die Meistersinger (Jurowski), Don Curzio in Le Nozze di Figaro (Ticciati), Remendado in Carmen (Jordan), Pásek in The Cunning Little Vixen (Jurowski) and Bardolfo in Falstaff (Elder). A favourite at English National Opera, his roles include Third Jew in Salome, Timorous/Lord Lechery/Messenger in The Pilgrim’s Progress (Brabbins), Don Basilio in Le nozze di Figaro and Tchekalinsky in Queen of Spades. Further credits include Flute in A Midsummer Night’s Dream for Opera North, Sellem in The Rake’s Progress for Scottish Opera, Nick in La Fanciulla del West (Corti) at the Edinburgh Festival, Rustighello in Lucrezia Borgia and Mime in Siegfried for Longborough Festival. Outside of the UK, highlights include Mime in Siegfried in Lisbon (Letonja), Strasbourg (Flor) and for Finnish National Opera in Helsinki (Segerstam), Snout in A Midsummer Night’s Dream for Teatro Real, Madrid, Don Curzio in Le nozze di Figaro for Der Nationale Opera, Amsterdam, Truffaldino in L’Amour des trois oranges in Limoges and Bob Boles in Peter Grimes for Opéra de Lyon (Ono). Colin has appeared regularly for Oper Köln where his roles have included Hirt/Junger Seeman in Tristan und Isolde, Monostatos in Die Zauberflöte, Spoletta in Tosca and Goro in Madama Butterfly.

Concert engagements include the Verdi Requiem (Hereford Cathedral), Haydn’s Nelson Mass (Brighton Festival), Beethoven’s Symphony No. 9 with the Royal Philharmonic Orchestra, and Britten’s War Requiem at the Megaron in Athens.

September 2019


Beethoven Jaquino FIDELIO
Berg Der Prinz/ Kammerdiener/ Der Marquis LULU
Bizet Remendado CARMEN
Britten Male Chorus THE RAPE OF LUCRETIA
Massenet Werther WERTHER
Mozart Ferrando COSÌ FAN TUTTE
  Monostatos/First Priest/Tamino DIE ZAUBERFLÖTE
  Venditore IL TABARRO
  Spoletta TOSCA
Purcell Aeneas DIDO AND AENEAS
Prokofiev Truffaldino LOVE OF THREE ORANGES
Rossini Coryphee LE COMTE D’ORY
Strauss, R. Herod/Third Jew SALOME
Verdi Dr. Caius FALSTAFF
Wagner Mime DER RING
  Hirt/Junge Seeman TRISTAN UND ISOLDE


Beethoven Symphony No. 9
 Britten Serenade for Tenor, Horn and Strings
  War Requiem
Butterworth A Shropshire Lad
Elgar Dream of Gerontius
Finzi Till Earth Outwears
  A Young Man’s Exhortation
Haydn Nelson Mass
Orff Carmina Burana
Schubert Winterreise
Schumann Dichteliebe
  Liederkreise Op. 39
Vaughan Williams All Song Cycles
  On Wenlock Edge
  Songs of Travel
Verdi Requiem

“… A special mention goes to the gamekeeper and his niece – Colin Judson and Alix Le Saux – whose two comic relief episodes, the palace servants’ chatter in Act 2 and their venture into the woods in Act 3, were greatly entertaining.” [Rusalka, Glyndebourne Festival Opera] David Karlin, Bachtrack

“… Colin Judson’s vividly acted and finely sung Gamekeeper…” [Rusalka, Glyndebourne Festival Opera] Melanie Eskenazi, MusicOMH

“An expert comic turn from Colin Judson as Dr. Caius…” [Falstaff, Garsington Opera] Charlotte Valori, Bachtrack

“…Colin Judson was a highly memorable Dr. Caius.” [Falstaff, Garsington Opera] Sebastian Scotney, The Arts Desk

“…Colin Judson’s Don Basilio [is] clear-toned, wonderful of diction and excellent of timing.” [The Marriage of Figaro, English National Opera] Jessica Duchess, The Arts Desk

“Goro, the matchmaker, the only truly ill-intentioned character in the affair, is encamped by tenor Colin Judson, whose physical counterfeit ‘round of leather’ is successful. He appears round, debonair, and quickly becomes as unhealthy as invading. He knows how to modulate the color of his timbre, to keep it below that of Pinkerton.” [Madama Butterfly, Opéra de Nice] Florence Lethurgez,

“Colin Judson is gripping as the dejected, and eventually accepted, suitor Laca. The tenor’s journey from despicable to repentant is complex and satisfying.” [Jenůfa, Pacific Opera Victoria] Sarah Petrescu, Times Colonist

“There was a decided thrust to Colin Judson’s Snout…” [A Midsummer Night’s Dream, Glyndebourne Festival] Yehuda Shapiro, Opera Magazine

“By far the most accomplished of this cast is Colin Judson, who has already sung Mime in David McVicar’s Siegfried in Strasbourg…and it showed. This was the most completely thought-through, incisively sun and word perfect individual performance on stage, fit for any theatre in the world.” [Siegfried, Longborough Festival Opera] Hugh Canning, Sunday Times

“Just as impressive was Colin Judson’s Mime, absolutely top-world-class. He seemed to have taken ‘vater und mutter zugleich’ as his springboard, sporting two aprons, one masculine-blacksmith, the other feminine-housewife – he could swap gender at the drop of a semiquaver, really unsettling. This riveting, well-sung impersonation, half malevolent, half strangely sympathetic, forever teetering on the edge of madness reminded you that Mime is one of Wagner’s most dazzlingly brilliant creations.” Rodney Miles, Opera Magazine

“…Colin Judson’s clarion tenor shines as both the Schoolmaster and, briefly, a bloodlust-crazed Mosquito, eyeing up Hrůša for juiciness…” [Cunning Little Vixen, Glyndebourne Festival] The Guardian, Erica Jeal

“There was much to appreciate already about Colin Judson’s school master, quietly dignified even when keeling over drunk.” [Cunning Little Vixen, Glyndebourne Festival] Christopher Webber, Opera Magazine

“Aux côtés du Mime éblousissant et désopilant de Colin Judson, qui campe avec delectation une sorte de gnome électrique monté sur resorts, contrefaisant sa voix de tenor sans jamais tomber dans la vulgarité avec en prime une diction impeccable, il forme le couple qui domine le spectacle…” [Siegfried, Opéra national du Rhin] Webthéâtre

“Mais outre les ap paritions fortes de l’Alberich d’Oleg Bryjak, du Fafner de Jyrki – Korhonen ou de l’Erda d’Alexandra Kloose, on retiendra surtout le Mime de Colin Judson, drôle, agile, précis, parlant son rôle sans oublier de le chanter…” [Siegfried, Opéra ntional du Rhin]

“Colin Judson absolument prodigieux en Mime qui semble se régaler des jeux de scène où il montre avec une drôlerie irrésistible…” [Siegfried, Opéra ntional du Rhin] Pierre-Emmanuel Lephay, Forum Opera

“So verleigt Colin Judon dem Mime einen marknten Charaktertenor mit den Schärfen, Kanten und Ecken, die man so liebt an dieser Antihelden-Figur.” [Siegfried, Opéra ntional du Rhin] Badische Zeitung

“Gloria’s husband Chester was brilliantly characterized by Colin Judson. He was a totally convincing homophobic slob, finally won over by his new gay spouse, Darryl. As usual, with the opera so very short, it seemed hard for the characters to develop convincingly, but Judson did exceptionally well, and was also the strongest singer in the cast. Even his homophobic moments were sensitively done, and it was clear that he was more ignorant than actually nasty. Once he as been educated by Darryl, his attitudes had changed, but there was still enough of the old Chester to make him seem like the same person.”

“New Sussex Opera this season celebrated its 25th anniversary with an illuminating production of Lucia di Lammermoor…. partnered by the Edgardo of Colin Judson who brought an ardour and intensity to their duet and dramatic thrust to his singing in the Wolf’s Crag scene with Enrico, revealing a good command of Donizettian style. He sang Edgardo’s final aria with beautifully shaded expression. “ Margaret Davies, Opera Magazine


Colin Judson will join the Berlin Philharmonic for a concert production of Rusalka in September 2019.

Colin will be Snout in Britten’s A Midsummer Night’s Dream (Le Songe d’une nuit d’été) with Opéra Orchestre National Montpeillier in spring of 2019. Performances are scheduled for May 8 through 12, 2019.

Colin Judson sings as the High Priest of Amon in Philip Glass’s Akhnaten from February 11 through March 8, 2019.

Colin was Dr. Cauis in Falstaff at Garsington Opera. Performances were from July 4 through 22, 2018.


The Dance Continued from A Young Man’s Exhortation Op. 14 by Gerald Finzi.
Richard Black plays the piano

I Have Trod the Upward and the Downward Slope by Ralph Vaughan Williams

The Snow aria from Cunning Little Vixen by Janacek

The Auction Scene from The Rake’s Progress by Igor Stravinsky, part 1

Part 2 of the Auction Scene