Home > Artists > Barry Banks


Barry Banks’ outstanding facility in roles by Bellini, Donizetti and Rossini has brought him to the attention of the world’s leading opera houses.

Current season highlights include the Duke of Mantua in English National Opera’s production of Rigoletto; Iago in Otello at Théâtre des Champs-Elysées and again at the Salzburg Festival; and a performance as Flute in A Midsummer Night’s Dream at The Metropolitan Opera. Concert highlights include performances with the Baltimore Symphony Orchestra and the Swedish Chamber Orchestra. Further ahead, Barry Banks appears at Welsh National Opera as Arnoldo in Guillaume Tell and Aronne in Mose in Egitto.  

The short biography displayed on this page is for information only. For concert programmes and promotional materials please use the downloadable versions.


“Here it [aria ‘Je suis joyeux comme un pinson’] is sung by Barry Banks…whose malleable voice has no difficulty in throwing the aria off with a lively air in accordance with Pepe’s joy at the prospect of his becoming a bachelor again.” (International Record Review, August 2014)

"Barry Banks’s tenor never loses this fire from start to finish. His is a ringing, resilient, indefatigable Hoffmann, whether in the bravado of Kleinzack’s song or in amorous rapture." (Tales of Hoffmann - ENO: The Times, February 2012)

"Hoffmann is less the fallen romantic hero than a feckless drunk and pothead, impersonated and sung with tremendous verve and focused tone by Barry Banks." (Tales of Hoffmann - ENO: The Daily Telegraph, February 2012)

"It sounds wonderful, too. Barry Banks's Hoffmann is all ringing top notes and ecstatic self-delusion." (Tales of Hoffmann - ENO: The Guardian, February 2012)

“Barry Banks displayed both clarion top notes and gravelly low ones for the title role's impossibly wide tessitura.” (Mitridate - Bayerische Staatsoper - Opera Magazine - October 2011)

“Equally powerful is Barry Banks's hot and red-blooded Edgardo, not the conventional operatic hero but a wild Border laird in plaid, who reminds us in the final act that this is really an opera with a tenor as well as a soprano mad scene. On this showing, Banks ranks in the top class of Italian-style lyric tenors – every phrase beautifully projected, clarion-toned and technically secure.”  (The Daily Telegraph, February 2010)

“Barry Banks’ splendid Almaviva. Fearless top notes and agility join with real humor and a comfortable physical presence.”  (Classics Today, November 2009)

“Barry Banks, that most elegant of top-altitude tenors, demonstrated virtuosic refinement as her lover, Carlo.”  (Financial Times, July 2007)

“If the performance had a hero, it was Barry Banks. As Uberto, he sailed the tenor stratosphere with nonchalant elegance, articulated the fiorature with communicative grace and acted with dignified urgency.”  (Financial Times, March 2007)