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Robin Blaze

Robin Blaze started to emerge as a respected counter-tenor past due in the 1990s. In keeping with most performers of his tone of voice type, he’s primarily an expert in early music, specifically Baroque and Classical period opera. His dad was a specialist golfer, instilling in Blaze a like for that video game he still pursues despite his progressively occupied concert and operatic routine. Blaze analyzed music at Oxford’s Magdalen University. He then received a scholarship in the Countess of Munster Trust to go after post-graduate studies on the Royal University of Music. He provides since became a member of the faculty from the Royal University. Britain’s Classic Compact disc magazine defined his greatest possessions being a crystal-clear build and a fantastic capability at phrasing, allowing him to take care of words with particular awareness. These and various other attributes have got led him to a starring placement in the wonderful world of early music interpretation. He provides appeared on the Boston Early Music Event and other main early music celebrations in Beaune, Karlsruhe, Utrecht, Jerusalem, Barossa Valley, and Saintes. A number of the ensembles with which he offers performed will be the Sixteen, Oxford Camerata, I Fagiolini, Fretwork, Robert Ruler and King’s Consort, Collegium Vocale Ghent, the Dufay Collective, the Orchestra of age Enlightenment, Tafelmusik, the British Concert, as well as the Academy of Old Music. His Boston Early Music Event performance is at its acclaimed creation of Purcell’s Ruler Arthur. Blaze in addition has sung the area of the God of Dreams in Purcell’s Indian Queen (at Schwetzingen and Queen Elizabeth Hall), Narciso in Handel’s Agrippina (Karlsruhe), Unulfo in Handel’s Rodelinda (Broomhill Opera Event), and Anfinomo in Monteverdi’s Il ritorno d’Ulisse in Patria (Teatro San Carlos of Lisbon). He’s also active like a recital and concert vocalist and in the documenting studio. He offers produced discs for Naxos, Harmonia Mundi, Hyperion, BIS, Deutsche Grammophon, and Virgin Classics. Among his information are a group of German Baroque cantatas, many units of Bach cantatas (for both BIS and DG), British lute tunes with Elizabeth Kenny, Vivaldi’s Stabat Mater, an application of music by Purcell and Blow with René Jacobs, Boyce’s Peleus and Thetis, and units of anthems by Blow (Hyperion) and Gibbons (Naxos). His documenting debut is at 1981, when he was a son treble, a concern that is right now out of printing.

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