Patricia Bardon
Mezzo-soprano

"Patricia Bardon’s lush-toned Malcolm Graeme - the heroine’s true love - is the next best thing I’ve heard in this opera to the immortal Marilyn Horne." (Hugh Canning, The Sunday Times)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Catherine Znak +44 (0)20 3725 9105

Biography

Dublin-born Patricia Bardon came to early prominence as the youngest ever prize-winner in the Cardiff Singer of the World Competition. She is a versatile operatic and concert performer, having worked with many of today’s pre-eminent conductors including Harry Bicket ,William Christie, Christoph Eschenbach, James Levine, Zubin Mehta, Sir Antonio Pappano, and Esa-Pekka Salonen.

Highlights in the 2014/15 season include the title roles in Rossini’s Tancredi with the Russian National Orchestra conducted by Alberto Zedda and the world stage premiere by Peter Sellars of John Adams’ The Gospel According to the Other

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Dublin-born Patricia Bardon came to early prominence as the youngest ever prize-winner in the Cardiff Singer of the World Competition. She is a versatile operatic and concert performer, having worked with many of today’s pre-eminent conductors including Harry Bicket ,William Christie, Christoph Eschenbach, James Levine, Zubin Mehta, Sir Antonio Pappano, and Esa-Pekka Salonen.

Highlights in the 2014/15 season include the title roles in Rossini’s Tancredi with the Russian National Orchestra conducted by Alberto Zedda and the world stage premiere by Peter Sellars of John Adams’ The Gospel According to the Other Mary at English National Opera, as well as Carmen with the Malaysian Philharmonic Orchestra conducted by Fabio Mechetti and concerts in Moscow, London, Zurich and Amsterdam.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Catherine Znak +44 (0)20 3725 9105

Reviews

“[John Wilson] has weighty help in star Irish mezzo Patricia Bardon in the title role. Many will have come specifically for the rare opportunity to hear her, and they cannot have been disappointed. She has sung the role many times, including a season-opening run last year with Los Angeles Opera directed by Placido Domingo, and recorded it for Chandos Records in 2002. It is easy to see why: she elevates all around her.” (Michael Dungan, Irish Times, June 2014).

“Patricia Bardon proved an unusually searching and intelligent Carmen, secure in her beauty and with seemingly better things to do than flaunt it. She doesn't need to attract men, she needs men to live up to her. They never do. She dies not so much a victim of

...

“[John Wilson] has weighty help in star Irish mezzo Patricia Bardon in the title role. Many will have come specifically for the rare opportunity to hear her, and they cannot have been disappointed. She has sung the role many times, including a season-opening run last year with Los Angeles Opera directed by Placido Domingo, and recorded it for Chandos Records in 2002. It is easy to see why: she elevates all around her.” (Michael Dungan, Irish Times, June 2014).

“Patricia Bardon proved an unusually searching and intelligent Carmen, secure in her beauty and with seemingly better things to do than flaunt it. She doesn't need to attract men, she needs men to live up to her. They never do. She dies not so much a victim of jealously, stabbed by a jilted lover, but a victim of her own high standards. Carmen's most famous numbers in the opera are based on Spanish dance such as a habanera and seguidilla, meant to bend an upright soldier, Don José, to her will. A flexible singer who trusts the music, has a pleasingly liquid sense of phrasing and makes everything she sings sound natural and easy, Bardon doesn't require movement to radiate sexuality. She does dance a gypsy song, but it is her eyes and facial expressions that tell you what business she means.” (Mark Swed, Los Angeles Times, September 2013)

"Patricia Bardon was utterly melting as Zenobia." (James R. Oestreich, The New York Times, February 2013)

‘Almost anyone would have been overshadowed by Patricia Bardon’s magnificent Countess of Essex.’ (Opera, August 2013)

"Reprising the role of Cornelia, Patricia Bardon is peerless. She portrays grief with great dignity, maintaining a beautiful vocal thread whilst her dynamic control is superb." (Opera Britannia, April 2013, on Giulio Cesare at The Metropolitan Opera)

"Mezzo-soprano Patricia Bardon delivered her mournful odes with fierce intelligence." (Roméo et Juliette - OAE - The Times - February 2012)

"The Wanderer’s subsequent exchange with Erda, the voluptuous-voiced Patricia Bardon, in a costume of black mirrors and a long white wig, had a potent, intimate chemistry." (Siegfried - Metropolitan Opera - The Wall Street Journal - November 2011)

"Patricia Bardon has the best physical shape for the damanding and challenging title role, she is the almost lost dream of a true contralto and boasts a powerful level. Simply amazing!" (Rinaldo - Oper Köln - Opernetz.de - April 2011)

"Patricia Bardon once again commands the stage with her impersonation of Baba the Turk..." (Evening Standard, January 2010)

"...in Patricia Bardon's towering performance as Maurya, the sung and the almost spoken are indivisible. One really feels this woman's heroic resistance, the sheer effort of staying strong and upright- so that when she does finally take her last son's lifeless naked body in her arms, the moment is overwhelming...a lamentation of extraordinary beauty which Bardon sings as if finally released from her grief and somehow reborn." (The Independent, December 2008)

"Patricia Bardon’s lush-toned Malcolm Graeme — the heroine’s true love — is the next best thing I’ve heard in this opera to the immortal Marilyn Horne..." (The Times)

Discography

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