©Photo: Ben McKee

Alex Otterburn

Baritone

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“But the evening belongs to Eddy and to Alex Otterburn’s outstanding performance – an Emerging Artist who has, on this evidence, emerged”
(Opera Critic, August 2017)

This season ENO Harewood Artist Alex Otterburn sings Pluto in Emma Rice’s new production of Orpheus in the Underworld under Sian Edwards, and Morales in Calixto Bieito’s production of Carmen conducted by Valentina Peleggi. Elsewhere, Alex returns to Opera Holland Park in his role debut as Danilo in The Merry Widow, and further ahead adds the role of Ned Keene in Peter Grimes to his growing repertoire.

Highlights so far have included Alex’s critically acclaimed debut as Eddy in Mark-Anthony Turnage’s Greek at the Edinburgh International Festival and in Glasgow as part of his Emerging Artist commitments for Scottish Opera, and most recently on tour at the Brooklyn Academy of Arts, marking his US operatic debut. Further successes have included his English National Opera mainstage debut as Squibby in the world premiere of Iain Bell’s Jack the Ripper: The Women of Whitehall, conducted by Martyn Brabbins, Chip in Antony McDonald’s new production of On the Town at the Hyogo Performing Arts Centre and on tour in Tokyo, Harlequin in Ariadne auf Naxos for both Scottish Opera and Opera Holland Park, Pallante in Agrippina for the Grange Festival, and his company debut at Opera North as Cascada in The Merry Widow under Martin André.

Debussy: Pelléas et Mélisande, Pelléas

Building a diverse concert repertoire, recent highlights have included Carmina Burana with the Oulu Symphony Orchestra conducted by Rumon Gamba, Bernstein’s Arias and Barcarolles accompanied by James Baillieu and Philip Moore, at the Edinburgh International Festival, and a selection of repertoire including Vaughan Williams and Gurney at the Ludlow English Song Festival with Iain Burnside. Elsewhere he has sung Haydn’s The Seasons, Bach’s Christmas Oratorio, Brahms’ Ein Deutsches Requiem, Fauré’s Requiem, and Vaughan Williams’ A Sea Symphony.

Alex gained a first class degree in Economics from the University of Manchester before embarking on his studies at the DIT Conservatory in Dublin. Alex is also the proud recipient of an Independent Opera Fellowship award.

Gallery

Strauss: Ariadne auf Naxos, Harlekin

"Orpheus in the Underworld trailer" © English National Opera

Mozart: Le nozze di Figaro (Count Almaviva)

Mozart: Papageno’s Suicide Aria, Die Zauberflöte

I’m Glad I’m Not A Tenor © with thanks to Opera Holland Park

Gurney: Sleep

Vaughan Williams: House of Life

“Alex Otterburn’s razor-edged Morales stood out among the smaller roles.”

(The Guardian, January 2020)

“Alex Otterburn’s Pluto ruled the stage in whatever guise the character adopted.”

(Opera Magazine, December 2019)

“Alex Otterburn makes a delightfully flamboyant Pluto.”

(Financial Times, November 2019)

“Alex Otterburn’s campy, confident Pluto in disguise, looking jolly pleased with himself – as he should do, having managed to pull with that haircut.”

(The Guardian, October 2019)

“With only the swaggering Alex Otterburn looking as if he enjoys his role as the devilish Pluto, masquerading as the shepherd Aristaeus to seduce the all-toowilling Eurydice.”

(Hugh Canning, Sunday Times, October 2019)

“the standout performances come from… Alex Otterburn as Hel Helson, whose baritone is strong, assertive and really delivers on all fronts”

(Music OMH, May 2019)

“Alex Otterburn makes a notable Coliseum debut as kindly Squibby from the knacker’s yard.”

(The Telegraph, April 2019)

“Alex Otterburn as Eddy, a baritone just starting out on his career, was a chip off the old parental blocks. Vocally, he was just as rock solid, albeit with a lighter, youthful timbre to his voice. Rubber-faced and acrobatic, he bounced about the stage in warm-up suits, somehow managing to come off brave and lovable, not just funny. He was tragic as well, gouging his eyes out by splashing red paint on his face. It was one of those tour-de-force performances that leave you breathless”

(Seen and Heard, December 2018)

“Alex Otterburn with quiet charisma and a doughy, swiftly changeable face”

(New York Times, December 2018)

“With his twisted smile and never-quite-trustworthy smarts, Alex Otterburn makes the perfect Eddy. His powerful baritone rises to the considerable challenges of Turnage’s score, nailing top notes with never a hint of discomfort. But he’s also a fine actor, able to deliver spoken text – not always an opera singer’s forte – with a rare intelligence. He captures nicely Eddy’s path from uncertainty to overweening confidence, and you really believe in his ultimate crisis”

(Limelight Magazine, December 2018)

“Alex Otterburn was even finer, though, bringing buckets of character to his songs and acting them with impressive vocal drama”

(Bachtrack, August 2018)

“her words are blurry compared to those of Alex Otterburn, whose Harlequin leads a slick quartet of lairy yet world-weary cabaret performers”

(The Guardian, July 2018)

“Alex Otterburn’s outstanding Harlequin leads a grungy crew of comedians”

(Classical Source, July 2018)

“The quartet of comedians sounded super, anchored by the youthful Harlequin of Alex Otterburn”

(Seen and Heard, April 2018)

“Alex Otterburn, one of Scottish Opera’s Emerging Artists last season, gave an outstanding performance as Eddy, a magnetic stage presence with a striking voice, arriving awkwardly onstage in his bright red tracksuit, eyeballing the audience in silent menace before launching into his story, exploding in a mixture of song and spoken word with generous lashings of street vernacular.”

(Bachtrack, February 2018)

“Alex Otterburn bestrides the stage as Eddy. He embodies the character’s myriad contradictions with vigour and restless energy, but also a humanity that endears him to us. Not only does he throw himself into the smut and the swearing, but he retains a distinctive lyricism and beauty to his voice that evokes sympathy for his plight, and he thoroughly deserved his roof-raising ovation at the end.”

(Seen and Heard, February 2018)

“And there was Otterburn as Eddy: an utterly magnetic monster, spitting out the spoken text one minute, singing with an eerie, yearning sweetness and moving with an almost balletic physical agility the next. Controlled and compelling, he was described in the programme as a ‘Scottish Opera Emerging Artist’. I’d say he’s emerged.”

(The Spectator, August 2017)

“Alex Otterburn ’s star turn as Eddy (Berkoff and Turnage’s Oedipus), meanwhile, is a canny study in casual Cockney racism and everyday psychopathy.”

(Financial Times, August 2017)

“Alex Otterburn is magnetic as Eddy. The first thing he does is eyeball us in intense silence; this is a performer with serious stage presence and a voice to match. Anyone who saw Marcus Farnsworth in the role will forever have that potency etched into their retinas, but Otterburn makes it his own, cocksure, vulnerable and believable.’

(The Guardian, August 2017)

“It’s a very strong cast none the less, headed by young baritone Alex Otterburn as an aptly swaggering, needy Eddy”

(The Telegraph, August 2017)

“Alex Otterburn (a recent graduate from the Royal Academy of Music) gave a performance of searing intensity as Eddy, singing with blazing conviction and inhabiting his uncouth and aspiring character with complete ease.”

(Classical Source, August 2017)

“For Scottish Opera Emerging Artist Alex Otterburn in particular, the central role of Eddy is a huge achievement.”

(Herald Scotland, August 2017)

“suavity and ring were the hallmark of Alex Otterburn, an on-the-ball Guglielmo whose eyes filled with tears in the final scene.”

(Opera Magazine, May 2017)

“The extravagant sashaying of the hip-flask-addicted John Styx (a terrific account by the baritone Alex Otterburn, a 2014 International Opera Awards bursary winner)”

(Opera Magazine, April 2017)

“Alex Otterburn impressed as the put-upon John Styx, a classy baritone with a lovely quality to his voice in his Song of the King of Boeotia.”

(Bachtrack, February 2017)

“Otterburn proved a master of physical theatre, tripping, lolling and hopak-ing with oafish ineptitude.”

(Opera Today, March 2016)

“There’s fine comedy from Alex Otterburn’s drunken Cossack Kalenik.”

(The Express, March 2016)

“It’s Alex Otterburn in the role of Father who shines; in possession of a powerful voice, he is onstage for too brief a time.”

(Broadway Baby, April 2015)

“There is a firm beautiful voice in the making in Alex Otterburn, who negotiated Don Giovanni and the Count in two of the four Mozart excerpts with impressive confidence. An excellent impression — again promises good stuff for the future.”

(Brian Dickie Blog, October 2014)