Stephen Milling
Bass

"Stephen Milling has it all...deep vocal riches, a keen way with words and a gift for expressive colouration." (Financial Times)

Contacts

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

Biography

Copenhagen-born Stephen Milling trained at the Royal Danish Academy of Music before joining the Royal Danish Opera in 1994 as a principle bass where he debuted a number of roles now central to his repertoire.

Hailed as one of the world’s foremost interpreters of the Wagner repertoire he enjoys an ongoing collaboration with some of today’s leading conductors. Highlights of the 2015/16 season include Parsifal at the Teatro Colon in Buenos Aires (Perez), Tristan und Isolde with Berliner Philharmoniker (Rattle), Rocco and Sarastro at Wiener Staatsoper, Tannhäuser at the Royal Opera House Covent Garden (Haenchen) and Schmidt’s Das Buch mit sieben Siegeln with Wiener

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Copenhagen-born Stephen Milling trained at the Royal Danish Academy of Music before joining the Royal Danish Opera in 1994 as a principle bass where he debuted a number of roles now central to his repertoire.

Hailed as one of the world’s foremost interpreters of the Wagner repertoire he enjoys an ongoing collaboration with some of today’s leading conductors. Highlights of the 2015/16 season include Parsifal at the Teatro Colon in Buenos Aires (Perez), Tristan und Isolde with Berliner Philharmoniker (Rattle), Rocco and Sarastro at Wiener Staatsoper, Tannhäuser at the Royal Opera House Covent Garden (Haenchen) and Schmidt’s Das Buch mit sieben Siegeln with Wiener Symphoniker (Honeck).

Recent performances include Hagen (Götterämmerung) at Bayreuther Festspiel under Kirill Petrenko, Gurnemanz (Parsifal) at Osterfestspiele Salzburg under Christian Thielemann and at Wiener Staatsoper under Sir Simon Rattle, Hunding (Die Walküre) at Royal Opera House Covent Garden under Sir Antonio Pappano and at The Metropolitan Opera with Valery Gergiev, König Marke (Tristan und Isolde) at Staatsoper Berlin under Daniel Barenboim, Wiener Staatsoper under Franz Welser-Moest and with the Los Angeles Philharmonic under Esa-Pekka Salonen, and Daland (Der fliegende Holländer) at the Bayerische Staatsoper under Asher Fisch and with the San Francisco Symphony under Michael Tilson-Thomas.

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Contacts

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

Reviews

“The highlight, an all-round outstanding Stephen Milling as Hagen” (Stuttgarter Zeitung, August 2015)

“Stephen Milling, already physically convincing as Hagen, gives a highly dramatic vocal performance also. Ideal casting.” (Mittelbayerische, August 2015)

“Stephen Milling, who wowed me as Marke in a Berlin Tristan last year, was an outstanding Hagen. Not only was his voice thrilling and, when needed, vast, he also captured the formidable menace of his character better than most others I’ve seen. His Watch Song was delivered from inside an iron grill, but this only intensified the impression of restrained malevolent power.” (David Larkin, Bachtrack, August 2015)

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“The highlight, an all-round outstanding Stephen Milling as Hagen” (Stuttgarter Zeitung, August 2015)

“Stephen Milling, already physically convincing as Hagen, gives a highly dramatic vocal performance also. Ideal casting.” (Mittelbayerische, August 2015)

“Stephen Milling, who wowed me as Marke in a Berlin Tristan last year, was an outstanding Hagen. Not only was his voice thrilling and, when needed, vast, he also captured the formidable menace of his character better than most others I’ve seen. His Watch Song was delivered from inside an iron grill, but this only intensified the impression of restrained malevolent power.” (David Larkin, Bachtrack, August 2015)

“The central force of the evening is Stephen Milling. His Hagen is both theatrically and vocally terrific. With his soft, dark bass, Milling gives gives the scheming character a demonic streak with great charisma and a seductive power.” (Kreiszeitung, August 2015)

“Stephen Milling as the cuckolded king was the most consistently pleasing of the evening. Possessing a rich, mellifluous timbre with excellent diction and an ability to shape long vocal phrases with outstanding projection.” (Opera Critic, February 2015)

“Stephen Milling convinces as King Marke, full of desperate sound with a voluminous penetrating dark voice.” (Opera Online, February 2015)

“In the role of King Marke was the excellent Stephen Milling who sang with a large homogenous voice and perfect intonation.” (Teatro.org, February 2015)

"The jewel in this cast was Stephen Milling, whose rendition of Marke’s monologue was simply spell-binding. In fact, he was so good that his brief appearance at the end of Act III almost unbalanced the focus on the lovers." (Backtrack.com, October 2014) 

"Stephen Milling deserves praise - a powerfully eloquent Gurnemanz." (Der Neue Merker, March 2013)

“The imposing bass Stephen Milling, singing the role of Hunding in Wagner's "Walküre," rumbled forth with stage-shaking low notes in his first rehearsal with the Tanglewood Music Center Orchestra. Jaws dropped in the first-violin section. Some of the young players, students at Tanglewood and top-notch musicians themselves, smiled in amazement. One violinist mouthed "Wow!" to her stand partner.” (The New York Times, July 2005)

Discography

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