John Upperton

John Upperton

Dramatic/Heroic Tenor (Heldentenor)

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2017Ponchielli: La GiocondaEnzo Grimaldo
2015Puccini: ToscaMario Cavaradossi
2015Puccini: ToscaMario Cavaradossi
2013Strauss R.: Ariadne auf NaxosBacchus
2012Wagner: Die WalküreSiegmund
2012Beethoven: FidelioFlorestan
2008Verdi: AidaRadamès
2003Bizet: CarmenDon José
2000Verdi: Un ballo in mascheraRiccardo
2000Strauss R.: DaphneApollo
2000Puccini: ToscaMario Cavaradossi
2000Mozart: La Clemenza di TitoTito
2000Tchaikovsky: The Queen of Spades (Pique Dame or Pikovaya Dama)Hermann
2000Puccini: La Fanciulla del WestDick Johnson
2000Verdi: OtelloOtello
2000Verdi: Don CarloCarlos
2000Massenet: WertherWerther
2000Elgar: The Dream of Gerontius, Op. 38Gerontius
2000Verdi: RequiemTenor


JOHN UPPERTON     DRAMATIC TENOR   Vocal history: Now firmly established in the Heldentenor repertoire, John has retained the flexibility from the high lyric roles as well as the ease and resilience at the top of the voice. Musicianship: musical education includes: University of Liverpool BA (Hons) in Music Royal College of Music (postgraduate singing course) LGSM pianoforte teachers' diploma (external) Singing teacher: David Pollard Languages: English, French, Italian, German, Czech, Greek, Russian, Spanish   Roles include: Royal Opera House  -   Dom Antonio (Dom Sébastien), Gherardo (Gianni Schicchi) English National Opera   -  Herodes, Walter (The Passenger), Mime, Gregor, Lazarus  Midsummer Opera   -  Tito, Idomeneo, Florestan, Siegmund, Siegfried, Don Carlo, Otello, Dick Johnson, Calaf Purcell Room   - Janíček  (Zápisník Zmizelého) - Janáček   Some Reviews: Verdi Otello (St John's Waterloo) “John Upperton has the ideal tenor for Othello, with lyrical sound that is pure, powerful, and ringing: spot-on pitches; no forcing, shouting or screaming: intelligible, communicative command of Italian. Verdi would have admired him mightily.” (Andrew Porter, Opera) Janáček's Zápisník Zmizelého (Beckenham Festival) “In strong and unflagging voice he gave a stunning performance, combining impeccable Czech and the full variety of Janáček’s declamation without sacrificing any of his searing lyricism.”(Terry Heard, Dvořák Society Journal) Rossini Ermione (Queen Elizabeth Hall) “...while Upperton, his voice flowing like silk, disquietingly conveyed Pirro's hauteur.” (The Guardian) “As Pirro, John Upperton's tenor had more of an Italianate ring, and he negotiated the fearsome coloratura and tessitura with aplomb.” (Opera) Rossini La Donna del Lago (St John’s, Smith Square): “...there was one tenor equal to the challenge, John Upperton, who flung off Roderick’s more-than-two-octave scale leaps with confident, ringing tone.” (The Times) “John Upperton threw out Rodrigo’s scintillating high Cs with apparent ease.” (The Guardian) “John Upperton was the most successful tenor of the evening, his lyric voice purling with confidence.” (The Stage)
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CV & Repertoire

Musical Work Role Jump-in ready? Company Year
Ponchielli: La Gioconda Enzo Grimaldo 1 week Midsummer Opera 2017
Puccini: Tosca Mario Cavaradossi Immediately Midsummer Opera 2015
Puccini: Tosca Mario Cavaradossi Immediately Midsummer Opera 2015
Strauss R.: Ariadne auf Naxos Bacchus Immediately Private performance 2013
Wagner: Die Walküre Siegmund Immediately Midsummer Opera 2012