MATTHEW BURNS
BASS-BARITONE
BIOGRAPHY
Bass-baritone Matthew Burns is celebrated for his musical and comedic capabilities in equal measure. Opera News recently singled out the “vocal and comedic flexibility” in his acclaimed Leporello in Don Giovanni at Detroit Opera. Most recently he appeared as Bartolo in Le nozze di Figaro with both Portland Opera and Utah Opera, and returned to The Metropolitan Opera for the reprisal of their production of The Hours. Other recent highlights include Beethoven’s Symphony No. 9 with the Delaware Symphony, Sergeant of Police in The Pirates of Penzance with Nashville Opera, and Sulpice in La fille du régiment with Utah Opera. In the 2024- 2025 season Matt sings the title role in Don Pasquale with the Napa Valley Festival and will debut with Opera Colorado as Colline in La bohème.
Burns recently made his Seattle Opera debut as Sacristan in Tosca for which the Seattle Times celebrated his “dignified bass-baritone, in counterpoint to his less-than-holy behavior,” which “provides much-needed comic relief.” Additioanl recent highlights include the title role in Don Pasquale at Inland Northwest Opera, Don Magnifico in La Cenerentola with Annapolis Opera, Suplice in La fille du régiment with Opera Carolina, Dulcamara in L’elisir d’amore with Virginia Opera, Dansker in Billy Budd with Central City Opera and covering roles in Rigoletto and Die Zauberflöte at the Metropolitan Opera.
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CRITICAL ACCLAIM
"... deftly handled the complicated physical comedy, without losing a note or flourish…” – Utah Arts Review
Il barbiere di Siviglia – “Perhaps the biggest laughs were earned by Matthew Burns as Doctor Bartolo, who played the role like a hapless dad in a late 1960s sitcom. He threw himself into his role’s physical comedy while still singing his baritone role with precision and gusto. In this production, he was an optometrist and Rosina was his assistant. At one point Shell decided to have them administer an eye exam to a frightened patient as they argue in recitative, and both deftly handled the complicated physical comedy, without losing a note or flourish.”
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"... Burns’ dignified bass-baritone…” – Seattle Times
Tosca – “Debuting in Seattle as the Sacristan, Matthew Burns’ dignified bass-baritone, in counterpoint to his less-than-holy behavior, provides much-needed comic relief.”
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"... Seasoned veteran bass-baritone Matthew Burns..." – Opera News
Don Giovanni – “the production was brimming with excellent performances . . . Seasoned veteran bass-baritone Matthew Burns brought comedic and vocal flexibility to the workhorse Leporello.”
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"... Burns delighted the audience..." – The Virginian-Pilot
L’elisir d’amore – “Likewise, Matthew Burns delighted the audience with his Dr. Dulcamara, the quack who sells Nemorino the elixir of love — which is just cheap wine. Burns' bass-baritone rang out joyfully, and he danced and moved and mugged with a knowing, devilish grace.”
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"... A refreshingly human Matthew Burns..." – BachTrack
The Canterville Ghost/Usher House – “A refreshingly human Matthew Burns as the Ghost chewed the scenery just the right amount, and even threw in a ghastly pronunciation of "ghost" of all things.”
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"... he led the cast in the comedy..." – Washington Classical Review
A Midsummer Night’s Dream – “Bass-baritone Matthew Burns roared with arrogant bluster as Bottom, the vain know-it-all who leads the “Rude Mechanicals” troupe by bad example. In his movements and overall stage presence, too, he led the cast in the comedy.”
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"... Burns was particularly powerful in his upper range..." – Opera News
La mère coupable – “As Bégearss, bass-baritone Matthew Burns was particularly powerful in his upper range and remarkably gripping in his raging moments before his final exit.”
REPRESENTATIVES
Vice President | Classical & Creatives
Agent | Classical & Concert
Operations & Finance Manager